Tag Archives: Product Design

Samsung’s Galaxy Watch Ultra2 Is Now Thinner Than the Apple Watch Ultra 3, and Its Battery Still Grew 35%

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I’ve tried on almost every rugged smartwatch worth talking about at some point, Garmin’s Fenix line, the Coros Vertix, Apple’s Watch Ultra, a few G-Shocks that technically count as smart now. And every single one turned my wrist into a doorstop. Titanium and steel cases solve durability by adding mass, and mass has a way of showing up as thickness, the one spec nobody brags about in a press release. Samsung’s original Galaxy Watch Ultra fit right into that pattern, a genuinely capable watch that still felt like strapping a hockey puck to your arm. So when Samsung says the Galaxy Watch Ultra2 shed 12% of its case height, that’s worth a second look, because that number usually comes at the cost of battery, and Samsung didn’t make that trade this time.

The new Ultra2 measures 10.7mm thick, down from 12.1mm, while its battery grew 35% to 800mAh. For comparison, the Apple Watch Ultra 3 still ships in the same 14.4mm case Apple has used since 2023, meaning Samsung’s rugged flagship is now meaningfully thinner than Apple’s. It comes in one 47mm size, priced at $699.99, up for preorder now with an August 7 release. The case shape hasn’t changed though, and that squircle silhouette is, well, it’s something.

Designer: Samsung Electronics

The trick isn’t hiding in the tooling, it’s in what Samsung tore out of the motherboard this year. Swapping the in-house Exynos W1000 for Qualcomm’s Snapdragon Wear Elite isn’t just a performance story, it’s a real estate story, since a different chip package almost always means a different board footprint underneath the display stack. Shrink or flatten that board and you free up vertical space for exactly the two things Samsung actually wanted more of, glass and battery. That’s likely how a watch gets thinner and holds 35% more charge in the same breath, a trade that usually isn’t available to engineers. The one wrinkle is that the Ultra2 is about a gram heavier than before, which tells me some of that freed space went right back into denser cell chemistry rather than thinner titanium.

Every hands-on published this week reaches for the same word to describe that flat-topped case, polarizing, as if refusing to be a circle is some kind of design crime. I’d push back on that read, because the squircle is doing real functional work, not just standing out at a Samsung keynote. A flat bezel lets Samsung etch actual hour numerals into the metal for a glanceable readout, something a curved rotating bezel can’t do nearly as cleanly. It also gives the sapphire front a flush, uninterrupted seal against the frame, which matters more once you’re strapping this thing on for a dive. Casio figured this out decades ago with the square DW-5600, a shape divers and soldiers kept buying long after round watches became fashionable again.

That instinct pays off literally underwater this year, since the Ultra2 is the first Galaxy Watch to earn EN13319 certification for dive instruments, alongside IP69K and 10ATM. Professional dive computers from Suunto and Shearwater have never been round for the same reason Samsung’s case isn’t, a flat face reads better through a mask and seals better against water pressure. The watch auto-detects submersion and logs depth, time and temperature on its own, while a dedicated Mares app arriving later this year unlocks ascent tracking and safe dive limits. Samsung says that partnership stays exclusive to the Ultra2 for two years, which is a long runway on Wear OS. All of that ships for $699.99, a full $100 under Apple’s Ultra 3, in a case that’s now thinner than Apple’s too.

None of this makes the Ultra2 a subtle watch, and it was never trying to be one. What it proves is that Samsung finally stopped treating “rugged” as a synonym for “thick,” which is a harder engineering problem than adding another millimeter of titanium ever was. Whether the Mares app actually delivers a usable dive computer later this year will decide if that squircle earns its keep beyond marketing slides. Until then, the case shape stops looking like a stubborn styling choice and starts looking like the reason the rest of this watch works at all.

The post Samsung’s Galaxy Watch Ultra2 Is Now Thinner Than the Apple Watch Ultra 3, and Its Battery Still Grew 35% first appeared on Yanko Design.

Samsung Split the Galaxy Z Fold8 Into Two Physical Personalities

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The standard Galaxy Z Fold8 looks broad enough in photographs to raise a question about grip, and I arrived at Samsung’s hands on session with exactly that reservation. In the hand, the width does something more useful: it spreads 201 grams across a shorter body, removes the top heavy sensation I associate with tall Folds, and gives the cover screen the proportions of a more natural phone. Beside it, the slimmer Fold8 Ultra uses a deeper camera stack, a finger groove, and a softer opening action to project a different kind of authority. Samsung hasn’t made one Fold at two prices. It has designed two physical personalities.

That distinction is the central design decision in Samsung’s new three device foldable family. Fold8 is shaped around approachability and content. Fold8 Ultra turns the same book style format into a larger, more architectural object built around creation and productivity. Flip 8 completes the system by shrinking the opening gesture, moving more interaction to the exterior, and treating color as part of the product’s identity.

My time with the devices was brief and preproduction. The observations here cover proportion, weight, balance, finish, hinge action, display shape, and visible interaction. Battery life, camera quality, durability, and long term crease behavior require full testing.

Samsung stopped treating the Fold as one object

For years, the book style foldable has carried an unresolved physical question. Should it feel like a phone that happens to open, or a small tablet that happens to close? Those goals pull the hardware in opposite directions. A tall, narrow exterior can preserve a familiar inner canvas, but it can also make the closed device feel remote like. A wider cover screen is easier to read and type on, but the extra width can make the object look cumbersome before anyone picks it up.

Samsung’s answer is no longer a single compromise. The Fold8 and Fold8 Ultra expose different priorities through their silhouettes. The standard model is shorter, wider, and visually quieter, with a dual camera arrangement that reduces the concentration of mass near the top. The Ultra is taller, thinner when open, and more assertive from the rear, where the camera hardware becomes part of its hierarchy.

The effect appears before either screen turns on. Fold8 asks to be handled. Fold8 Ultra asks to be noticed.

The standard Fold distributes its mass instead of advertising it

Samsung lists the Fold8 at 201 grams and 4.5 mm thick when open. Numbers that small usually become launch trivia, but here they explain the object’s behavior. The wider frame spreads weight laterally, while the shorter body and simpler camera form reduce the sensation that the top of the device is pulling away from the hand.

I was especially aware of that balance when rotating the Fold8 into portrait orientation. The device felt settled rather than perched. My concern that the new width would feel excessive faded quickly because the weight distribution gave the fingers a stable object to hold, not a tall slab to counterbalance.

This is where apparent weight separates from measured weight. A device can be light on a scale and still feel awkward if its center of mass sits too high or too far from the palm. Fold8’s proportions make 201 grams feel integrated into the form. It is still a folding phone with two halves, a hinge, and a large inner display, but it no longer announces those components as separate burdens.

The rear camera layout supports that reading. Fold8’s dual 50 megapixel system is less ambitious than the Ultra’s camera package, but it also gives the standard model a calmer back surface and less visual weight. The specification tradeoff is visible in the silhouette, which is exactly how an intentional product family should communicate hierarchy.

Two screen ratios create one continuous object

The 10:16 cover display and 4:3 inner display aren’t two isolated specifications. They form a sequence. Closed, the Fold8 presents a wider keyboard area and a more complete frame for short form content. Open, the 7.6 inch inner screen expands into a squarer field that gives reading, websites, video, and side by side tools more horizontal room.

That transition changes the physical logic of the Fold. Earlier narrow cover displays could feel like a temporary interface used on the way to the main screen. Yanko Design’s earlier coverage of the wider Fold8 form anticipated the geometric shift, but the final hardware is lighter and more balanced than leaked dimensions alone could show. Fold8’s exterior is proportioned to stand on its own, so opening the device becomes an expansion rather than an escape.

Samsung’s 3,000 nit peak brightness claim, Vision Booster, and anti reflective treatment support that architectural idea by keeping the canvas legible across changing conditions. During my limited session, I focused on the geometry and reflections rather than making a judgment about display quality. The crease remained part of the object. Samsung says the revised internal stack reduces its visibility, not that it disappears.

The most coherent part of the standard Fold may be this relationship between modes. Closed and open no longer feel like separate products sharing a hinge. The proportions create continuity.

Flex Titanium hides the design work below the surface

The name Flex Titanium invites an easy misunderstanding. Samsung hasn’t wrapped the Fold8 in a titanium exterior. The technology lives inside the folding display stack, where two titanium based components perform different jobs.

A titanium alloy film replaces the earlier polymer film, creating a thinner and more durable flexible layer, according to Samsung. Beneath it, a titanium plate adds rigidity. Pressure sensitive adhesive reduces air gaps between layers. Samsung says the combined structure improves durability and reduces crease visibility.

This is hidden engineering with visible consequences. A flatter looking surface, a thinner display assembly, and controlled reflections all change how the open device reads as a single plane. Yet the material story is strongest when it remains precise. The film flexes. The plate supports. Neither turns the chassis into a titanium object, and neither removes the crease from the physical vocabulary of a foldable screen.

The display stack also reveals why reducing thickness isn’t simply a process of shaving the exterior. Every fraction of a millimeter contains structural roles, adhesive spacing, sensor clearance, and protection for surfaces that close against each other. During the session, I asked whether more titanium could replace the raised inner border. Samsung’s representative explained that the slight lip creates separation when the device closes. The answer is a useful reminder: the part that looks removable may be the part preventing two delicate surfaces from touching.

The Ultra makes opening part of its identity

At 4.1 mm open, the Fold8 Ultra is 0.4 mm thinner than the standard Fold. I could feel that difference. The more revealing change, however, wasn’t the measurement. It was the way the Ultra opened.

Samsung shaved the outer bevels to create a groove between the panels, then adjusted the hinge and magnets. On the Fold 7 comparison unit, I had to work against noticeably more resistance. That tactile change extends the hinge refinement documented in Yanko Design’s Galaxy Z Fold7 hands on. The Fold8 Ultra gave my fingers a clear purchase point and opened with less effort. A tiny subtraction from the edge changes the whole sequence from searching, gripping, and pulling into one continuous action.

The magnets contribute to that choreography. Closed, the object feels intentionally sealed. Once the fingertips find the groove, the resistance releases more cleanly. This isn’t visual styling applied after engineering. It’s a designed gesture produced by edge geometry, hinge tuning, and magnetic force.

The Ultra’s 215 gram mass and larger camera system give it more physical presence. Its rear silhouette communicates image making capability even before Samsung’s 50 megapixel ultrawide, dual high resolution cameras, and 8K modes enter the conversation. Whether that camera stack reads as capability or excess will depend on the viewer, but it clearly distinguishes the Ultra from the standard model’s quieter back surface.

Its inner display uses the same broad material ideas: a titanium alloy film, titanium support plate, anti reflective layer, and a claimed 3,000 nit peak. The larger visual authority comes from how those components are framed by the taller object, the camera hierarchy, and the controlled opening action.

Fold8 and Ultra serve different design goals

Design element Fold8 Fold8 Ultra Flip8
Primary physical intent Approachable content canvas Large screen creation and flagship presence Compact interaction and self expression
Weight 201 g 215 g 180 g
Unfolded thickness 4.5 mm 4.1 mm 6.1 mm
Screen geometry 10:16 outside, 4:3 inside Taller book style canvas Inner phone plus expanded FlexWindow
Opening interaction Conventional book style fold Finger groove, revised hinge, optimized magnets Compact flip with redesigned hinge
Material story Flex Titanium display stack Flex Titanium display stack with thinner Fold construction Thinner internal package and new hinge material
Visual character Wide, balanced, visually quiet Architectural, camera led, assertive Colorful, pocketable, expressive

The 200 dollar price gap will encourage a linear comparison, but the objects resist one. Fold8 Ultra isn’t simply the standard model with every value increased. It’s thinner when open yet heavier as a whole. Its camera stack gives the rear more authority and more visual complexity. Its opening groove improves a repeated physical action, while its larger canvas supports layered Gemini windows and creation tools.

Fold8 trades some of that equipment for a shape that felt more naturally balanced in my hand. It’s the more approachable object, not a reduced Ultra. The Ultra is the more elaborate object, not an automatically more resolved one.

Flip8 moves the phone toward its exterior

Samsung’s lineup argument would be incomplete without the Flip 8. At 180 grams and 6.1 mm when open, it pursues a different relationship between body and pocket. The hinge has been redesigned, but the larger conceptual change appears on the outside.

The FlexWindow now behaves less like a remote panel for the inner phone. Swipe down from the upper left for notifications, down from the upper right for quick settings, and up for a home screen with Now Brief, recommended actions, and an app row. A second upward swipe opens a full app tray. Samsung also demonstrated easier access to apps beyond the earlier whitelist.

That sequence changes the folded object from an accessory to the main device for short interactions. Gemini automations can run from the cover, while Now Feed can surface Samsung’s expanded card system. Software is serving the physical state here: the phone stays closed because the exterior has become complete enough to use.

Bright Pink, Cream, Graphite, and Mint give the Flip a more expressive surface palette than either Fold. Samsung reserves Mint for its online store. Color isn’t incidental on a compact object that spends much of its time closed and visible. It carries identity while the larger screen remains hidden.

Price, colors, and availability

Samsung lists the Galaxy Z Fold8 from $1,899.99 in Lavender, Cream, Graphite, and Pistachio. Pistachio is exclusive to Samsung.com. The Galaxy Z Fold8 Ultra starts at $2,099.99 in Violet Shadow, Cream, Graphite, and Green Shadow, with Green Shadow exclusive to Samsung.com. Galaxy Z Flip 8 starts at $1,199.99 in Pink, Cream, Graphite, and Mint, with Mint exclusive to Samsung.com.

Official U.S. preorder and retail availability dates weren’t included in the prelaunch briefing record available before the 9:00 a.m. ET embargo. Those two dates must be inserted from Samsung’s launch release when it becomes public. No unverified date has been substituted.

Three forms, three behaviors

Samsung’s new foldables are most revealing before their processors, cameras, or AI tools begin working. Fold8 communicates approachability through width, lower mass, calmer camera geometry, and a cover screen that looks ready for ordinary phone use. Fold8 Ultra communicates presence through height, a stronger camera hierarchy, a thinner open profile, and an opening gesture with its own physical punctuation. Flip 8 communicates portability and personality by making the closed state increasingly self sufficient.

The family is coherent because each device uses the same basic grammar of folding displays, hinges, bright surfaces, and adaptive software. It’s convincing because Samsung allows those ingredients to produce different behaviors instead of forcing every model toward one ideal shape.

The Fold8 is the central design here. It turns the book style foldable from a narrow device that reveals a tablet into a balanced phone that expands into a broader canvas. The Ultra makes that expansion feel more deliberate and imposing. The Flip makes opening optional for more of the day.

Samsung’s foldable future no longer looks like one perfect hinge waiting to be discovered. It looks like three objects teaching the same screen to behave differently.

The post Samsung Split the Galaxy Z Fold8 Into Two Physical Personalities first appeared on Yanko Design.

The 5 Details Every Great EDC Design Shares in 2026

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Cheap knives and great knives can share a steel type, a similar price bracket, and even a similar silhouette, yet one gets carried every day for years while the other sits in a drawer after a month. The difference rarely comes down to one dramatic failure. It comes down to five small decisions that most buyers never learn to check for, decisions about lock geometry, screw heads, pivot bearings, dimensional proportion, and low-light findability. Spend enough time with a stack of 2026 releases side by side and the pattern gets impossible to unsee.

I spent the better part of last week breaking down those five decisions using five knives currently earning their keep in pockets around the EDC community, each one chosen because it executes a single detail without compromise. None of these are the flashiest releases of the year, and none needed to be. What ties them together is a kind of restraint, the willingness to spend real machining time and material cost on a part of the knife most buyers never think to inspect. A locking mechanism gets tuned for years of one-handed use rather than a flashy debut video. A screw gets sized and disclosed rather than hidden behind a proprietary driver. That restraint is expensive to execute and easy to skip, which is exactly why so few knives manage all five at once.

1. The Lock: Why Button and Crossbar Mechanisms Made the Liner Lock Feel Dated

Liner locks and frame locks have one quiet flaw nobody talks about until they’ve sliced a thumb pad on a fast close. To fold the blade back down, your fingers have to reach across its path and nudge the lock out of the way, which is fine ninety nine times out of a hundred and a genuine hazard on the hundredth. Button locks and crossbar locks solve this by moving the release off the blade’s line entirely. Press a button or pull a bar mounted on the spine, and the blade drops shut without your fingers ever crossing the edge. It sounds like a minor ergonomic tweak until you realize it’s the same logic that made Benchmade’s AXIS lock a cult favorite for two decades, just freed up for everyone else to build on now that the patent has expired. That single expiration is why crossbar and button locks have exploded across mid-tier knives in the last two years, and why a lock type that used to signal premium exclusivity now signals a maker who’s simply paying attention.

Tekto’s F4 Echo, a collaboration with Zastava Arms USA that leans hard into the gunmaker’s rifle heritage, runs exactly this kind of button lock, and it’s tuned well enough to matter. Press the button and the CPM S35VN blade drops free with none of the mushy half-engagement that plagues cheaper button locks, then a flick of the flipper tab snaps it back open with the same crisp confidence. Closing it is a one-handed motion, thumb on the button, palm rolling the spine shut, no crossed fingers anywhere near the reverse tanto edge. It’s a satisfying click too, the kind that turns into an idle fidget habit whether there’s anything to cut or not. At $199.99 it isn’t chasing budget-tier button locks racing to the bottom on price. It’s proof the mechanism has fully arrived at the mid-tier, executed with a materials upgrade to match, and Tekto clearly built it for people who’ll notice the difference immediately.

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2. The Pivot: Why Ceramic Bearings Turned Washers Into a Warning Sign

Pull apart any budget folding knife from a decade ago and you’ll almost always find phosphor bronze or Teflon washers wrapped around the pivot, a setup that works fine until grit, lint, or a humid afternoon gets between the layers. Washers rely on flat surface contact, so any contamination turns a smooth flip into a gritty drag that needs a hard wrist snap to force open. Ceramic bearings solve this by replacing that flat contact with a caged ring of hardened balls that roll instead of scrape, cutting friction dramatically and staying consistent even when the knife is dirty. They also can’t rust the way steel bearings eventually do, so a knife that’s been caught in the rain still deploys glassy smooth a year later. This used to be the detail separating a $50 knife from a $300 one, and in 2026 that gap has mostly closed. Once ceramic bearings became cheap to source and simple to cage correctly, there was no honest excuse left for a stiff pivot at any price.

Civivi’s Elementum earned its reputation as the reset button for budget EDC largely by being one of the first sub-$50 folders to ditch washers for a caged ceramic ball bearing pivot outright. The Elementum II carries that same pivot forward while adding a tuned button lock, and the bearing underneath does most of the work on how the knife actually feels in hand. Flick it open and it glides with none of the initial stiffness a washer knife needs to work through, and the closing motion rides that identical smooth pivot rather than some separate mechanism bolted on for the button. At 2.96 inches of Nitro-V steel and under $100 across most configurations, it’s proof the bearing upgrade never had to live exclusively at the premium end of the market. Civivi more or less forced the rest of the budget category to either match that pivot or explain why they hadn’t.

3. The Glow: Why Tritium Slots Separate Findability From Decoration

Tritium vials are sealed glass tubes filled with a radioactive gas that emits a faint, self-powered glow for roughly 25 years with no batteries and no charging required, and EDC makers have been drilling slots for them since around 2020. Plenty of that early adoption was pure theater, vials tucked into handle scales where your palm covers the glow the moment you pick the knife up, or embedded on a blade spine where they serve no purpose beyond looking tactical in a product photo. A well-placed slot solves an actual problem instead. Drop a knife in a dark bag, a glove box, or beside a bed at 2am, and a tritium vial is the difference between patting around blind and spotting a faint green dot exactly where you left it. Vials run $15 to $40 each, so a maker adding two of them made a deliberate call. Decoration gets bolted on wherever there’s leftover space, while findability gets placed exactly where your eye needs to land first.

TiNova II puts that logic to its intended use. The two tritium slots sit on the flat faces of its Grade 5 titanium scales, and depending on the finish, you get either raw sandblasted titanium letting the glow read plainly or a black-coated version that makes those same vials do most of the visual work in a dark pocket or bag. At 2.54 inches closed and just 59.3 grams, this is a knife built for keychain duty first, exactly the kind of small object that goes missing in a junk drawer or backpack pocket without a locator built in. The D2 steel blade deploys with a 360 degree spin off a ball bearing pivot, more fidget toy than tactical folder, but the tritium slots keep it from being purely a novelty. It’s a genuinely small detail on a genuinely small knife, and it’s exactly the kind of detail that separates a maker thinking about how the object gets used at night from one just checking a spec sheet box.

4. The Footprint: Why 8 Inches Became the Serious EDC’s Sweet Spot

EDC has spent the better part of a decade chasing extremes in either direction, keychain folders under 4 inches closed competing with hard-use tank knives pushing past 9 inches open, both categories treating size as the headline spec. Somewhere in the middle sits a range most serious knives have quietly converged on, an overall open length around 8 to 8.3 inches paired with a blade close to 3.5 inches. That proportion isn’t an accident or a coincidence across brands. It’s large enough to give a full four-finger grip real purchase on the handle, yet compact enough to disappear into a front pocket without printing through the fabric or announcing itself in a waistband. The blade length lands right at the edge most carry jurisdictions still consider reasonable, long enough for food prep, package handling, and cordage work without crossing into knife-you-have-to-explain territory. Novelty chases a headline number. Dimensional maturity chases the number that actually gets carried every day.

Tactile Knife Co.’s Maverick sits almost exactly on that mark, running 8.18 inches open with a 4.7 inch closed length and a 3.5 inch CPM MagnaCut blade that splits the difference between edge retention and rust resistance better than almost anything at this price. Richard Rogers designed the knife’s tri-lobe handle shape specifically to fill a full-size hand without adding bulk, and the crossbar lock keeps the release off the blade’s path the same way the better button locks do, so drawing and closing it one-handed never feels like a negotiation. At 3.9 ounces in titanium, it carries with enough presence to feel substantial without dragging a pocket down, which is the entire argument for this dimensional range in one knife. Tactile built it in Dallas alongside its better-known pen line, and the proportions read like a team that already understood exactly where the size ceiling for daily carry actually sits.

5. The Fastener: Why Torx Screws Signal a Maker That Expects You to Stick Around

A screw head sounds like the last thing worth judging a knife on, but it quietly tells you how a maker feels about your relationship with the tool over the next decade. Torx resists cam-out under torque, distributes pressure evenly across the star pattern, and doesn’t strip the way a Phillips head does after the third disassembly. Cheaper knives lean on Phillips because the drivers are everywhere, or worse, they use a proprietary bit tucked into a tiny plastic bag that gets lost within a month, quietly forcing you back to the store when the pivot finally needs a clean. The real tell in 2026 isn’t whether a knife uses Torx at all, since most premium builds do by now. It’s whether the maker actually tells you the size. A listed T6 or T8 is an invitation to keep the knife running for years. A vague “tool included” is a maker who’s already planning for you to lose it and buy another knife instead.

Tekto builds the A2 Badger around that same philosophy, running Torx head screws visible on all four corners of the chamfered aluminum handle rather than hiding the hardware or pressing it in permanently. That transparency matters more than usual here, since the Badger is an OTF, a mechanism with more moving parts than a standard folder and one that benefits from an owner who’s actually willing to open it up and relube the slide over time. At 2.18 ounces with a titanium coated D2 blade under two inches, the Badger was built specifically to slip past the length restrictions that plague OTF knives in restrictive states, and Tekto backs that engineering with a full warranty against material or manufacturing defects. Standard Torx hardware on every corner means an owner can actually service the thing rather than just carry it until something inside finally gives out. It’s a small, unglamorous decision, and it’s exactly the kind that separates a knife built to last from one built to sell once.

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The post The 5 Details Every Great EDC Design Shares in 2026 first appeared on Yanko Design.

Paper MacBook Pro: Apple’s Thinnest Redesign Now Targeting 2027, Not 2026

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For the last several years, the Mac’s biggest leaps have come from the silicon inside it. Apple’s M-series chips transformed the MacBook Pro into a class leader on performance per watt, and for a while that made the chassis feel almost settled, a familiar shell for ever more capable internals. The latest roadmap chatter suggests that phase is ending. Apple is reportedly preparing a routine M6 refresh for late 2026, while saving the far more interesting MacBook Pro overhaul for the first half of 2027, the one many are already framing as the “Paper MacBook Pro.”

That nickname works because it instantly communicates the ambition. The idea is not literally a MacBook made of paper, but a MacBook Pro pushed so far into thinness that it starts to feel closer to a design sketch than a finished computer. If the reports are accurate, 2027 is when Apple plans to cash in on that image with a redesigned body and an OLED display, a combination that points to the company’s slimmest Pro notebook yet. For Apple, this would be a familiar kind of flex, turning thinness into theater, then selling the engineering behind that theater as the real product.

Designer: Apple

OLED is what makes the whole concept believable. A MacBook Pro display built around OLED can be thinner than the current mini-LED setup because it does not need the same backlight structure behind the panel. That gives Apple more room to slim down the lid, and once the display stack gets thinner, the rest of the machine can follow. This is why the 2027 model matters more than the late 2026 one. The M6 refresh may keep the lineup current, but the OLED redesign is the part that changes what the MacBook Pro looks like, feels like, and signals from across a room.

The catch is that every millimeter Apple removes has to come from somewhere. A thinner MacBook Pro sounds beautiful until the tradeoffs enter the conversation. Ports are the first obvious pressure point, because HDMI, SD card slots, and even MagSafe all take up physical depth. Then there is the battery, which depends on volume, and the cooling system, which depends on space and airflow. Apple can offset some of that with more efficient chips and smarter internal packaging, but industrial design always collects its price eventually. The “Paper MacBook Pro” only becomes a win if it stays recognizably Pro in the ways that matter after the keynote ends.

That is what makes this rumored 2027 machine so interesting from a design perspective. Apple already knows how to make a thin laptop. It has done that before, sometimes brilliantly, and sometimes with compromises that aged badly. Making a thin MacBook Air is one challenge. Making a thin MacBook Pro that creators, editors, developers, and power users can trust for sustained work is a much harder brief. The real test of this redesign will not be the side profile in Apple’s launch images. It will be whether the machine can carry all that visual elegance without hollowing out the practicality that gives the Pro line its identity.

So what should people expect in 2027? Probably a MacBook Pro that looks noticeably slimmer, likely leans on OLED as the enabling technology, and arrives with the kind of visual lightness Apple loves to turn into a headline. They should also expect compromises to become part of the conversation the moment the design appears. That tension is the whole story here. The “Paper MacBook Pro” has the potential to be one of Apple’s most striking laptop redesigns in years, but only if the company proves that shaving down the body does not also shave away the reasons professionals buy a MacBook Pro in the first place.

The post Paper MacBook Pro: Apple’s Thinnest Redesign Now Targeting 2027, Not 2026 first appeared on Yanko Design.

This $70 Japanese Candle Burns From the Inside Out & Lights a Room Better Than Anything Else on Your Shelf

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Most candles do one thing: burn down and disappear. The wax melts, the light fades, and what you are left with is an empty vessel and a faint smell of something vaguely floral. The Japanese Lantern Candle does not follow that logic. Rooted in the design of the chouchin, the traditional paper lanterns that once lit up festival streets and the doorways of old izakayas, this candle holder holds its shape while the flame quietly does its work inside. The outer wax never melts. The light does.

What changes as the candle burns is the experience. The inner candle gradually hollows out, and as it does, the light begins filtering through the undulating surface of the outer shell in a slow, shifting pattern that is difficult to look away from. Handmade by craftsmen in Kurashiki, Japan, it carries the kind of quiet specificity that separates an object made with intention from one made for convenience. That distinction is easy to feel the moment it is lit.

Click Here to Buy Now: $70.00

The Light That Stays

The patented technology behind the outer shell is what makes this candle worth understanding. Conventional candles collapse inward as the wax disappears, which means the design and the light disappear with them. Here, the outer layer holds its form throughout the life of the candle. The undulating surface was not designed purely for aesthetics, though it earns its place on that front as well. As the inner flame burns lower, the light catches and bends through the curves of the shell in a way that shifts with the burn, giving the candle a different quality of light at the end of its life than at the beginning. It is a slow reveal rather than a slow fade.

Crafted in Kurashiki, Designed for Stillness

Kurashiki is a city in Okayama Prefecture with a long history of textile craft and traditional artisanship. The candles made there carry that lineage in the way they are finished. Each one is handmade, which means no two are entirely identical, and the minimalist exterior reflects a restrained design philosophy that integrates into most interior spaces without demanding attention. It works on a bedside table, a bathroom shelf, or the center of a dining surface. The intention behind it, a calming ritual to mark the end of the day, is built into the form itself. You do not need to think about how to use it. You simply light it.

What We Like

  • Patented outer shell technology: the wax casing holds its structure as the inner candle burns, preserving the lantern form and the quality of the glow through the entire life of the candle
  • Handcrafted in Kurashiki, Japan: made by artisans in a city with a genuine tradition of craft, which shows in the finish and the material consistency
  • Undulating surface design: as the inner flame burns through, the light catches and moves across the curved surface in a way that no flat-sided candle can replicate
  • Minimalist aesthetic: the design integrates into contemporary and traditional interiors equally, without the visual noise of decorative candles that prioritize appearance over atmosphere

What We Dislike

  • No replacement candle system specified: the product does not make clear whether inner candles can be sourced and replaced once the original burns out, which affects the long-term value of the outer shell
  • Limited availability: with only a small number left in stock and no confirmed restock date, it is the kind of object that disappears before most people know it exists

A Ritual Worth Keeping

There is a particular kind of object that earns a permanent place in a room not because it demands to be noticed but because the room feels different without it. The Japanese Lantern Candle belongs to that category. It does not perform. It simply holds the light in a way that slows the room down, which is the point of the chouchin tradition it draws from, and the point of any ritual worth building around the end of a day.

If the candles currently on your shelf burn flat and leave nothing behind, this is the straightforward upgrade. At $70.00, it is the cost of something made by hand, in one place, for one purpose. Pick it up before the remaining stock is gone.

The post This $70 Japanese Candle Burns From the Inside Out & Lights a Room Better Than Anything Else on Your Shelf first appeared on Yanko Design.

iPhone 18 Just Slipped to 2027 — Apple Splits the Launch

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Nineteen years is a long time to run the same play. Every September, Apple walked out with the full iPhone lineup, shook the room, and watched the world queue up. That rhythm now looks set to break. The latest round of supply-chain reporting suggests Apple will split the iPhone 18 cycle in two, with the iPhone 18 Pro, Pro Max, and a first-gen foldable arriving in fall 2026, while the standard iPhone 18, iPhone 18e, and possibly a second Air model slip to spring 2027. Analyst Ming-Chi Kuo has outlined the broad two-phase roadmap, and recent reports have tied the spring delay to comments from Largan Precision chairman Tony Chen, who referenced a major U.S. customer moving one launch into early 2027.

MacRumors, PhoneArena, and Mashable have all converged around that same basic timeline, even if the reporting still traces back to the same analyst and supply-chain trail. The broad picture is consistent: Apple’s premium iPhones go first, the cheaper and higher-volume models come later. If that holds, it would mark the biggest shake-up to Apple’s iPhone calendar in years, especially for a company that has spent nearly two decades training customers to expect the full lineup in one September burst. The standard iPhone 18’s absence from that fall event would instantly become part of the reveal.

The practical explanation is easy enough to understand. A foldable iPhone adds complexity, premium models are easier to prioritize early, and Apple has increasingly used its top-end devices to debut the newest silicon, camera systems, and AI experiences. But the timing also fits Apple’s business logic almost perfectly. The Pro line delivers stronger margins, and it is also the tier best positioned to carry Apple Intelligence in its fullest form if memory, chip performance, and feature access continue to separate the lineup. A split launch gives Apple an entire holiday cycle where the newest iPhones on shelves are also the most expensive ones.

That is where the psychology starts to matter. Most people do not treat an iPhone launch like a spreadsheet exercise. They upgrade when the keynote is fresh, when trade-in offers are active, and when the new devices are physically available. In that environment, the standard iPhone 18 becomes the phone for people willing to sit out the excitement and return months later. The majority will not. They will buy what is new, visible, and available, which means the Pro line absorbs buyers who might otherwise have chosen the standard model if both had launched together.

A foldable above the Pro Max only sharpens that effect. Once Apple places a much more expensive device at the top of the ladder, the Pro starts to feel comparatively attainable. That is a powerful piece of pricing psychology, especially in a lineup where the base model is temporarily missing from the conversation. So yes, the headline is that the iPhone 18 may have slipped to 2027. The more interesting story is what that slip does for the rest of the lineup, because splitting the launch would change more than Apple’s calendar. It would change the role of the standard iPhone itself.

The post iPhone 18 Just Slipped to 2027 — Apple Splits the Launch first appeared on Yanko Design.

5 Japanese Design Gifts for Him That Feel Like They Were Hand-Carried From Kyoto

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The best gifts don’t announce themselves. They sit quietly on a desk or a shelf and earn their place over months, long after the novelty of anything else has faded. Japanese design understands this better than almost any other creative tradition. The deliberate object, stripped of everything unnecessary, built to be used every single day without ever wearing out its welcome. These five picks operate on exactly that frequency.

None of these are mainstream. You won’t find them at a department store or wrapped in packaging that tries too hard. What they share is a quiet commitment to material honesty: titanium that carries no taste, porcelain with no visible branding, brass that darkens with use, incense that smells like a forest. Together they cover a full day, from morning coffee through the last drink of the night.

1. Unfiltered Titanium Whisky Glass

Titanium is one of the few materials that genuinely changes how a drink feels without changing how it tastes. It is completely non-reactive, which means spirits come through clean, with nothing added by the vessel and nothing taken away. The Unfiltered Titanium Whisky Glass takes that material property and builds around it a form that is spare and considered, lighter than glass but with a presence in the hand that reads immediately as deliberate. It is the kind of object that prompts questions before a single word is said about it.

For the person who cares about the quality of a drink as much as the ritual around it, this glass closes a gap that most barware never bothers addressing. Titanium used at this level belongs to aerospace and surgical contexts. Bringing it to a whisky glass is not a novelty decision; it is a statement about what the object is actually for. It performs differently from glass and crystal, and that difference is the point. Some gifts upgrade a shelf. This one upgrades a habit.

Click Here to Buy Now: $90.00

What we like

  • The non-reactive titanium construction delivers spirits with complete neutrality, letting the whisky speak entirely for itself
  • The weight and balance feel engineered rather than decorative, which makes the ritual of pouring a drink feel more considered

What we dislike

  • The matte titanium finish shows fingerprints with regular handling and benefits from occasional wiping to stay sharp
  • Those accustomed to the visual clarity of crystal may find the opaque surface takes some adjustment

2. Hasami Porcelain Mug in Gloss Gray

Hasami is a small town in Nagasaki Prefecture that has been producing ceramics for over 400 years. This mug is what happens when that accumulated knowledge meets a genuinely modern brief: a cylindrical body, a handle pulled so close to the barrel it nearly disappears, a high-gloss gray glaze that reads like wet stone. Designed by Takuhiro Shinomoto, it carries no visible logo anywhere on its surface. The message is the object itself, not the brand attached to it.

For the person who takes their morning coffee seriously, this changes the whole ritual. The custom porcelain-and-clay blend gives it an unusual density. It feels more substantial than its size suggests, which matters when you are reaching for the same cup every morning for the next decade. It stacks cleanly with other Hasami pieces, reflecting a deeply Japanese idea that objects should consider their relationship to one another even in storage. Microwave and dishwasher safe, despite looking like it shouldn’t be.

What we like

  • The 400 years of ceramic tradition from Hasami produces a density and finish no standard mug can replicate
  • The modular stacking system reflects a level of design thinking most tableware never bothers with

What we dislike

  • The high-gloss glaze shows water spots between washes and requires more frequent drying to stay looking its best
  • The handle sits very close to the body, which may feel narrow for larger hands

3. Traveler’s Company Brass Ballpoint Pen

Midori has been making objects for travelers and writers from Tokyo since 1950, and the Traveler’s Company Brass Ballpoint Pen is the purest version of what they do. It is machined from a single piece of solid brass with no coating, no lacquer, and no finish. The moment you pick it up, it feels wrong in the best way: heavier than expected, cooler to the touch, more deliberate than anything that belongs in a cup of pens beside the printer.

What makes this pen genuinely special is what happens over time. Raw brass oxidizes. It darkens in the places you grip it most, lightens where it rests against a pocket, and takes on the character of its owner’s daily routine. Two people who carry this pen for a year will end up with two completely different-looking objects. For someone who writes by hand, or simply wants one pen worth keeping on a desk for the next decade, this is it.

What we like

  • The raw brass develops a unique patina over time, making each pen entirely distinct to whoever carries it
  • The weight and balance feel more considered than almost anything available at this price point

What we dislike

  • The oxidation process requires occasional polishing if a brighter, cleaner finish is preferred
  • Replacement ink uses a standard Parker-style refill, which needs to be sourced separately

4. Shoyeido Kyojiman Incense

Shoyeido has been making incense in Kyoto since 1705, which means they were perfecting this craft while the city was still the imperial capital. The Kyojiman line, whose name translates roughly as Pride of Kyoto, is their signature daily collection. Each stick combines aloeswood, sandalwood, and medicinal plants, with no synthetic fragrance anywhere in the formula. The packaging is a flat paper box so stripped of decoration it looks like it was designed by an architect rather than a gift company.

Each stick burns for around 25 minutes, which is long enough to mark the transition from work to evening without filling an entire room with scent. The smoke is thin and clean, nothing like the heavy commercial incense found elsewhere. For someone who already has everything and finds most gifts forgettable, this is the one that changes how a room smells on a Tuesday, which is ultimately a more lasting impression than any object sitting on a shelf.

What we like

  • Three centuries of craft behind every stick, using only natural aromatic woods and medicinal plants with no synthetic fragrance
  • The 25-minute burn time suits an evening ritual precisely, marking a transition without overwhelming the room

What we dislike

  • The minimal paper packaging, while visually considered, offers limited protection during shipping
  • Aloeswood-forward scents can divide people, with some finding them earthy and others finding them medicinal

5. First Pour Bottle Opener

Tsubame-Sanjo is a city in Niigata Prefecture that has produced precision metalwork since the 17th century. Suwada has been operating there since 1926, a hundred years of blade craft that shows in every object they make. The First Pour Bottle Opener is what happens when that lineage is applied to the most overlooked object at any gathering. The silhouette flows rather than angles, with a weight that feels closer to a precision instrument than anything you would find sitting in a kitchen drawer.

In use, it earns its price on the first bottle. The cap comes off cleanly in a single motion, no bending, no tearing, no second attempt. A small embedded magnet catches it the instant it pops free, so it never skitters across the table. For a host who pays attention to the details of an evening, this opener sets the tone before a drink is even poured. It works best when the person receiving it already cares about that kind of thing.

Click Here to Buy Now: $65.00

What we like

  • The magnetic cap catch is the kind of detail that only reveals itself fully the first time you use it in front of someone
  • Suwada’s century of precision metalwork gives the opener a heft and finish that justifies its cost entirely

What we dislike

  • At this price point for a bottle opener, it asks the recipient to appreciate the craft sitting behind the cost
  • The flowing sculptural form means it does not rest flat on a surface without a dedicated place to live

The Best Gifts Work Inside Daily Life, Not Around It

What connects these five objects isn’t price or category. It’s the logic behind them. Each one was made by someone who thought carefully about a specific action: the glass you drink from when it matters, the cup you reach for first every morning, the pen that earns its weight over years. Japanese design doesn’t decorate the surface of daily life. It works inside it, in the moments most designers stop thinking about.

The best version of this list is also the most personal one. The opener for the host, the pen for the writer, the incense for the one who already has everything and needs something that changes the quality of a room rather than simply adding to it. Any single object here is a considered gift. All five together make an unusually honest statement about what good design actually feels like to live with.

The post 5 Japanese Design Gifts for Him That Feel Like They Were Hand-Carried From Kyoto first appeared on Yanko Design.

This Origami Pot Just Solved the 2 Things That Kill Most Houseplants

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Keeping houseplants alive has become something of a modern ambition, especially for those living in smaller spaces where a bit of greenery goes a long way. The problem is that most people have a complicated relationship with plant care. Forgetting to water on time, struggling with repotting, and watching plants suffer because the pot can’t keep pace can make the whole experience feel more discouraging than rewarding.

That’s what HELIX was designed to address. Created by Andrew Flynn, former industrial design lead at Dyson and the mind behind the Airwrap, Corrale, and Airstraight, HELIX is what POTR describes as the world’s first self-watering pot that physically grows alongside your plant. Its origami-inspired form isn’t purely decorative; the folds are the functional mechanism that lets the pot expand as roots develop.

Designer: POTR

Click Here to Buy Now: $29 $39 (27% off). Hurry, only a few left! Raised over $124,000.

At the heart of HELIX is a capillary wicking system tucked into the base. Fill the 300 ml reservoir, and a wick draws moisture steadily upward into the soil, letting the plant absorb exactly what it needs. The result is consistent hydration for up to two weeks between refills, meaning you’re no longer guessing whether you’ve overwatered, underwatered, or simply forgot entirely.

What really sets HELIX apart is what happens when a plant outgrows its space. Rather than pulling it out, cleaning up the mess, and starting over in a bigger container, you simply twist the pot open and add fresh compost around the root ball. The structure expands from 7cm to 16cm tall, accommodating up to 2 litres of soil without disturbing the roots.

For those who want to start from scratch, the Sprout Plate turns HELIX into a seed-starting setup. It sits inside the pot and works with the self-watering reservoir to keep seeds consistently moist, which is exactly what herbs like basil, mint, coriander, and parsley need to get going. As the seedlings grow taller, the pot simply expands around them, no transplanting required.

The Sprig Plate handles something slightly different. It’s designed for propagating cuttings, holding them above the water reservoir so stems can develop roots before being moved into soil. It works well for popular houseplants like pothos, monstera, and Chinese money plants, and the smart part is that once those roots have taken hold, the same HELIX pot expands to become their permanent home.

Then there are climbing plants, which have their own needs entirely. The Expanding Trellis plugs into the soil and can be extended upward in layers as the plant grows, with stems clipped into the folded origami structure for support. It borrows from the same geometric design language as the pot, turning something aesthetic into a functional vertical guide for climbers like pothos, hoya, or jasmine.

What makes HELIX even more interesting is that its hexagonal footprint lets multiple pots sit flush against each other without awkward gaps. Line up several on a counter or windowsill, each growing a different herb or microgreen, and you end up with a surprisingly coherent indoor herb garden that you can keep adding to. It’s a modular setup that scales with your appetite for growing.

The sustainability angle is woven into the design rather than tacked on as an afterthought. HELIX ships completely flat, which cuts both packaging volume and transport emissions compared to conventional rigid planters. It’s made entirely from recycled polypropylene, a waste plastic that often ends up in landfill, and uses roughly 70% less material than a comparable concrete or ceramic pot, making the eco credentials feel genuinely earned.

Plant care has always been about patience and attention, but it’s rarely been about the pot itself. HELIX shifts that dynamic by asking what a container could look like if it were as invested in a plant’s progress as the person tending to it. Whether you’re growing something you plan to eat, something to look at, or something you simply don’t want to kill, that’s a compelling thought.

Click Here to Buy Now: $29 $39 (27% off). Hurry, only a few left! Raised over $124,000.

The post This Origami Pot Just Solved the 2 Things That Kill Most Houseplants first appeared on Yanko Design.

This foldable outdoor chair occupies the same amount of space as a soundbar

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A car may be designed to get you from one place to another, but the most memorable parts of a journey often happen in the pauses. The roadside stop. The quiet view after a long drive. The spontaneous coffee break that turns into an afternoon outside. Took, an industrial design and mobility lifestyle concept, builds its entire experience around those in-between moments.

At its core, Took is a portable chair system designed for people who see driving as more than transportation. It responds to a growing shift in mobility culture, where car-based lifestyles are becoming lighter, more casual, and more integrated into everyday life. Auto camping and quick outdoor breaks turn the vehicle into a small basecamp for rest, play, and self-expression. Took fits neatly into this world by staying ready in the trunk, waiting for the moment someone decides to stop, unfold, and simply enjoy where they are.

Designer: Jimin Nam, Donggwan Heo, and 민석 김

What makes the idea compelling is that it does not frame sustainability as a heavy responsibility. Instead, Took presents it as a style of living. The project defines this attitude as “Eco-core,” a lifestyle where green values become part of personal expression rather than a grand statement. Much like carrying a tumbler or picking up litter during a walk, sustainability here feels casual, visual, and habitual. Took imagines what that mindset could look like in a mobility lifestyle: familiar drives becoming small adventures, and ordinary stops becoming opportunities for more mindful rest.

The material story gives the product its emotional weight. When cars reach the end of their life, airbags and seatbelts are usually discarded, despite being made from materials engineered to protect, absorb impact, and bear load. Took reclaims these materials and gives them a second role. Once designed to guard the driver during movement, they now support the driver during stillness. It is a thoughtful form of recycling because it preserves the memory of the car’s protective function while giving it a new, softer purpose.

The chair itself is designed around immediacy. Conventional outdoor gear can feel like an entire event before the actual rest even begins. Took removes that friction through a compact case, strap handle, and one-touch hinge mechanism. The case fits neatly in the trunk, keeps the chair protected, and makes it easy to carry from car to destination. Once there, the system unfolds in a single motion. Extend the legs, drape the recycled skin, and the chair is ready. The gesture is simple enough to feel almost ceremonial: arrive, open, rest.

That simplicity is important because Took is not trying to compete with heavy-duty camping equipment. It is designed for the light, everyday outdoor moment. A short break during a road trip. A sunset stop after work. A quiet parking spot by the water. It makes comfort feel accessible without demanding planning, packing, or a complicated setup.

The concept also extends beyond the physical chair. Took imagines driving itself as a more engaging sensory experience through a digital layer called “Play Your Drive.” Instead of treating efficiency as a dry metric, the interface turns it into live feedback. Fluid circles respond to pedaling behavior, while an energy recovery ring helps the driver understand and balance their movement. The result is a playful system where greener driving feels visible, responsive, and rewarding.

This lifestyle approach continues through small accessories, including a carabiner for the car key. It acts as both a practical holder and a personal object, something that can reflect the driver’s identity. With an added opener function, it quietly supports the kind of relaxed, outdoor ritual Took is built around. Even the welcome package considers the full journey, from active driving to parking, offering the brand’s first greeting as a thoughtful gesture of privacy and care.

Took feels relevant because it understands that future mobility will not only be about smarter vehicles or autonomous systems. It will also be about how people inhabit the spaces around those vehicles. As software-defined vehicles and seamless mobility experiences continue to evolve, the car may become less of a machine we operate and more of a companion in daily life. Took leans into that possibility with warmth, lightness, and a clear sense of purpose.

It does not ask users to become outdoor experts or sustainability activists. It simply makes room for a better pause. With one compact chair, recycled automotive materials, and a playful driving ecosystem, Took turns the ordinary car journey into something more personal, more expressive, and more worth remembering.

The post This foldable outdoor chair occupies the same amount of space as a soundbar first appeared on Yanko Design.

This LEGO Pink Panther Figure Is Already a Staff Pick, and It’s Easy to See Why

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For a cartoon character who has never once opened his mouth to speak, the Pink Panther has spent over sixty years being one of animation’s most expressive performers. Every laugh comes from the smirk, the sideways glance, the exaggerated saunter set to Henry Mancini’s slinking saxophone theme. He is proof that comedy does not need dialogue when you have got timing, posture, and a really good walk cycle (I guess Mr. Bean had a fairly strong source of inspiration). It is a masterclass in physical comedy distilled into a single, impossibly lanky silhouette.

That silhouette has now been recreated in LEGO form, and it captures exactly the qualities that make the character work. The figure stands tall and thin on a black circular display base, paintbrush in one hand and a can of pink paint in the other, caught mid mischief exactly the way you would expect. The yellow eyes, the sly little smile, the long curved tail trailing behind him, it is all there, rendered in plastic with a surprising amount of personality for a figure with no moving mouth at all.

Designer: Legendary Brick2

So much of this build’s attitude is managed by practically one single color palette. The build is almost entirely pink, sleek fur pink for the body, a softer blush pink for the muzzle, with just enough black, red, and yellow accents to do all the emotional heavy lifting. The eyebrows are two thin curved pieces that somehow read as pure smugness, and the whiskers are simple black elements that give the face just enough texture to feel finished rather than blank. My favorite detail, though, has to be the articulated fingers gripping the paintbrush. It is a small thing, but it sells the entire pose, the idea that he is mid job and about to make a mess of something.

The tail is doing a lot of work too, sweeping out in a long curve that keeps the whole figure from reading as a stiff vertical column, and it is paired with a small pink dribble of paint resting near his feet, a nice little narrative touch suggesting he’s leaving some evidence, a calling card, so-to-speak. The paint can itself has a proper handle detail, and the way it hangs off his hand adds a bit of weight and believability to an otherwise cartoonish frame. It is the kind of build that rewards you for walking around it, since the side profile shows off the tail and the can strap in a way the front view just does not.

This one has already earned itself a Staff Pick badge on LEGO Ideas, and the community has responded in kind, with the project currently sitting at 3,723 supporters on its way to the 5,000 mark, with 564 days still on the clock to get there. If you have got any nostalgia for Saturday morning cartoons or just appreciate a well built cartoon silhouette, head over to the LEGO Ideas page and add your vote. I certainly did.

The post This LEGO Pink Panther Figure Is Already a Staff Pick, and It’s Easy to See Why first appeared on Yanko Design.