Tag Archives: Luxury

People Are Putting This $3,000 Toilet on Their Wedding Registry

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The toilet is one of those objects we use every single day, and yet it has somehow remained completely untouched by the design revolution sweeping through every other corner of our homes. We’ll spend hours agonizing over sofa fabrics and kitchen tiles, losing sleep over the perfect pendant light, and debating grout colours as if our lives depend on it. But the toilet? That’s just functional. It’s white. It flushes. It hides in a corner and we try not to think about it too much. At least, that used to be the prevailing attitude.

Hugo Volpei had a very different idea. The French entrepreneur founded Trone in 2018 after a visit to Sketch, the legendary London restaurant known for its surreal, egg-pod bathroom interiors. Despite the theatrical setting, Volpei noticed the toilets themselves were still the same generic white fixtures you’d find in any ordinary home. It struck him immediately as a missed opportunity, and from that moment, he became fixated on a question most people had never thought to ask: why hasn’t anyone actually designed the toilet?

Designer: Hugo Volpei

Eight years later, Trone operates in around 30 countries, sells close to 3,000 toilets annually, and has done something that feels genuinely rare in consumer goods: created an entirely new product category. These aren’t toilets with a fresh coat of paint or a few extra features bolted on. They’re sculptural objects, made with the same intentionality you’d give to fine furniture, and offered in bold colours, unexpected finishes, and silhouettes that feel closer to art installations than to anything you’d typically find in a bathroom catalogue.

The models themselves are worth lingering on. Icone01 features a striking transparent water tank that stands tall behind the bowl like a glass column, using just three litres per flush. Callipyge has a beautifully rounded, almost architectural form that completely shifts the mood of any bathroom it occupies. Altesse, the smart toilet, has lines so refined it barely registers as a toilet at all. The most recent addition, simply called The Throne, replaces the traditional boxy shape with a tear-drop silhouette and a sliding door that makes the whole thing feel like a piece of furniture. Each piece is produced alongside French and Italian craftsmen, which explains both the remarkable level of finish and the premium price point, and gives Trone a coherent design identity that feels genuinely earned rather than simply claimed.

I appreciate that Volpei never tried to rebrand the toilet as something more palatable. He didn’t call it a “wellness station” or bury the product under layers of vague lifestyle marketing. He simply looked at a deeply neglected object and asked why it couldn’t also be beautiful. There’s a refreshing directness to that logic, and it’s one that resonates well beyond the design community. The idea that a toilet could hold its own in a design conversation, let alone lead it, should have seemed like a stretch. With Trone, it doesn’t.

Perhaps the strongest evidence that Trone has genuinely shifted how people think is this: some customers are now adding Trone toilets to their wedding registries and Christmas wish lists. Volpei describes this as “probably the greatest achievement of all,” and it’s hard to argue. Getting people to genuinely want a toilet as a gift requires a fundamental shift in cultural perception, and building that shift from scratch, with no existing market to reference, takes real conviction.

Trone’s clientele now spans restaurants, hotels, and hospitality groups across Europe, including names like Big Mamma and Paris Society. This makes complete sense. A beautifully designed toilet in a well-considered restaurant bathroom is exactly the kind of unexpected detail people photograph and talk about later. Volpei calls the product “an experience,” which sounds almost absurd in this context, until you remember that people are genuinely requesting these for birthdays and anniversaries. The toilet was always going to have its design moment. It just took someone stubborn enough to believe that no object is too humble to be worth caring about.

The post People Are Putting This $3,000 Toilet on Their Wedding Registry first appeared on Yanko Design.

Ex-McLaren Designers Just Built a $130,000 Carbon Fiber Chair

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Luxury furniture has long borrowed the language of high-performance design without much of the substance behind it. Carbon fiber panels get applied as surface decoration, automotive references appear in product copy as shorthand for precision, and racing-inspired silhouettes turn up on lounge chairs. The materials may occasionally be genuine, but the engineering thinking behind them rarely makes the trip from one industry to the other.

Ennua’s Element 01 takes a different position. The people behind it didn’t simply borrow from the automotive world. They came from it directly, having spent years shaping supercars including the McLaren Speedtail, Elva, and W1. The Element 01 isn’t furniture dressed up in engineering language. It’s the result of applying actual supercar design methodology to a seating object, starting from materials and working outward.

Designers: João Dias and Patrick Carton

The first thing Element 01 does well is refuse to announce itself. Walk into a room with it, and it doesn’t immediately read as a chair, a sculpture, or a piece of furniture. That ambiguity is deliberate. The design prioritizes silhouette and proportion the way a supercar does, making the form something to encounter before it’s understood. It takes a second look before the seating function even registers.

The structure is built from carbon fiber, the same material used on high-performance cars for its exceptional strength-to-weight ratio. The carbon frame can reportedly withstand loads equivalent to around 2,000 kg, more structural assurance than any home seating has any practical need for. Layered over it are automotive-grade leathers chosen for texture and durability, and precision-machined metal components that bring a jeweler’s precision to every connection.

Several named configurations are available, each built around a specific combination of carbon finish, leather tone, and metallic accent. Options like Abyss, Aurora, and Ruler’s Solace suggest a naming sensibility closer to bespoke watchmaking than furniture retail. Each variant is treated as a distinct piece rather than a colorway, making the Element 01 more akin to a collector’s commission than an item that ships from a warehouse.

Ennua positions the Element 01 for private residences and architectural landmarks rather than conventional retail environments, which says something about its intended context. Sit in one, and it functions as a chair. Stand across the room, and it reads as something else entirely, a deliberate quality shared by the cars that influenced it. Most objects are content to be one thing, while this one insists on being at least two.

Element 01 is described as only the opening move for the brand, which already has the next five years of products planned, hinting at everything from audio equipment to fitness gear and a possible return to automotive design. The ambition is to never become known simply as a furniture brand. Every future object is expected to carry the same logic of function and sculptural presence as the chair.

The Element 01 is priced at around $130,000, placing it in the territory of bespoke timepieces and limited-edition automotive commissions rather than furniture purchases. It costs as much as a well-optioned sports car, and that comparison isn’t accidental. It’s built like one, designed with the same tools, and asks to be treated with the same regard that most people reserve for things with four wheels and not four legs.

The post Ex-McLaren Designers Just Built a $130,000 Carbon Fiber Chair first appeared on Yanko Design.

Ross Lovegrove’s Hi-Fi Speakers Look Like River Pebbles, Stream 384 kHz Audio

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Ross Lovegrove has spent his whole career convinced that nature already nailed industrial design and humans are just slow to catch up. His portfolio backs it up fast. The Ty Nant water bottle looks like a puddle caught mid freeze. The DNA Staircase he built for the Belgian Pavilion at Shanghai Expo 2010 spirals like an actual double helix. His Go Chair for Bernhardt Design curves like it was grown in a lab rather than welded together in a factory. Give the guy a chair, a bottle, a staircase, anything, and he finds the organic shape hiding inside it. Speakers are trickier though, since somewhere inside all that flowing curvature you still need drivers, amplifiers, and wiring that behaves itself.

KEF’s new LS LUXE is Lovegrove’s answer, and it is a genuinely convincing one. Picture two smooth pebbles sitting on your shelf, the kind you would find polished at the bottom of a river, except one of them has a gold driver staring back at you like a tiny mechanical flower. The cabinet skips every straight edge in favor of that rounded, water worn shape, finished in shades like Mineral White and Eclipse Black. Spec wise, you get 380 watts of amplification and network streaming up to 384 kHz, all packed into a form that reads more like sculpture than stereo gear. It launched in Asia Pacific at 4,910 US dollars a pair, with US availability and pricing still to come.

Designer: Ross Lovegrove for KEF

Inside that pebble shaped shell sits KEF’s 12th generation Uni-Q driver array, a 165 mm aluminium cone wrapped around a 25 mm dome tweeter that fires from the exact same point in space. That single point origin is why Uni-Q speakers spread sound evenly instead of beaming it at whoever grabbed the best seat. Behind the driver, KEF’s Metamaterial Absorption Technology claims to soak up 99 percent of unwanted rear sound, the same maze like structure found in flagship lines like the Blade. Two amplifiers split the work, 280 watts for the lows and mids, 100 watts for the highs. That is serious firepower for something the size of a grapefruit.

The rear ripples with vertical ribbing like sand under shallow water, broken only by an oval bass port and a connections panel etched with Lovegrove’s own signature. That same engineering ambition carries over to VECO, KEF’s new Velocity Control Technology, debuting here in a wireless speaker for the first time. VECO uses motion sensing feedback to catch distortion and power compression before they turn audible, letting the speaker correct itself in real time rather than waiting for you to notice something is off. Network streaming tops out at 384 kHz, with AirPlay, Chromecast, Bluetooth, and Tidal, Qobuz, and Spotify Connect built in. Roon support is coming too, just not until 2027.

Dusk Titanium, Eclipse Black, and Mineral White are the three finishes on offer, and KEF ties each one back to cymatics, the way sound visibly ripples across a surface, which is a bit much on paper but looks genuinely premium in person. A pair runs 6,299 Singapore dollars, about 4,910 US dollars, with the launch limited to Asia Pacific for now. The US page is live for early access through myKEF membership, though American pricing has not landed yet. Twenty kilos a pair also means double checking that shelf before committing. KEF is betting people will pay a premium for a speaker that looks like it belongs in a gallery instead of a media console.

KEF tried this design forward approach before with the LS50 Wireless II, and the LS LUXE feels like that idea with the leash finally taken off. Where the LS50 stayed rounded but fairly conventional, Lovegrove pushed KEF into a shape that competes with furniture for shelf space instead of hiding next to it. The real test is whether that sculptural ambition holds up once these sit in an actual living room instead of a studio render, since renders always flatter reality. At 4,910 dollars a pair, this is priced for people who already care about hi-fi and design in equal measure, not newcomers to either. Lovegrove has spent a career getting objects into museums. Whether the LS LUXE joins them or just earns a very nice shelf, KEF has made sure nobody mistakes it for furniture nobody asked for.

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A Walnut and Brass Desktop PC That Still Runs an RTX 5090

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The PC industry has spent decades optimizing for a buyer who tolerates ugly hardware. Not a buyer who wants it, necessarily, but one who accepts it as the cost of performance. The tradeoff between raw computing power and the aesthetic quality of the object sitting on a desk has been so consistent for so long that it’s stopped feeling like a compromise. Most high-performance desktop computers look like something between a server rack and a concept car that got stuck in the concept phase, and they live under desks partly because there’s no reason to keep them visible.

The Nocturne is a desktop PC built in direct opposition to that assumption. Its chassis is sub-11L, which makes it compact enough to actually sit on a desk rather than beneath one, and its materials are a considered departure from the standard palette of tempered glass and injection-molded plastic. The side panel is a single plank of American Black Walnut, laser cut, hand finished, and polished with organic beeswax, a finish that deepens naturally with age rather than fading or yellowing. The front face is walnut as well. The feet, badge, buttons, and screws are turned from solid brass. The top panel is individually airbrushed per unit.

Designer: Ren Zhen (Optimist)

Every Nocturne is assembled and tuned by the same small team at Optimist’s shop in North Carolina before it ships. That includes a photography session for each unit, which is both a quality step and a signal that the people building these take the object seriously as a designed thing rather than a configured product. Nothing in the process is shared with mass production. The Optimist emblem is laser-etched directly into the walnut, not applied as a sticker or decal.

The hardware inside doesn’t make any concessions to the visual restraint outside. The Nocturne supports configurations up to an AMD Ryzen 9 9950X3D2 processor and an NVIDIA GeForce RTX 5090 GPU with 128GB of DDR5 memory available at the top end. The acoustic performance matches: the system runs at sub-decibel levels, which matters as much for the room it sits in as for the person sitting in front of it. A machine that sounds like an appliance disappears into a space in a way that a machine with a fan you can hear from across the room never does.

The warranty structure reflects the relationship the company expects to have with buyers after the sale. Parts are covered for two years and labor for six, and if a repair is needed, the unit can be shipped back for in-house service without conditions. That’s a longer commitment than most pre-built PC companies offer, and it makes more sense when the object in question is hand-finished wood and brass rather than standard black plastic.

The Nocturne first appeared in 2024 and garnered quite the attention. Optimist keeps no more than five designs available at any time, retiring past builds as new hardware and new aesthetics arrive. The Nocturne has persisted through multiple cycles. That’s a harder thing to maintain in a market that typically treats last year’s chassis as obsolete the moment a new one appears.

The post A Walnut and Brass Desktop PC That Still Runs an RTX 5090 first appeared on Yanko Design.

Rolls-Royce Firmament Concept Turns the Hood Into a Meteor Shower Chasing the Spirit of Ecstasy

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Every shooting star you have ever wished on was actually dying. What looks like a streak of pure light tearing across the sky is a rock disintegrating, burning up in its final seconds, and yet we treat that death as a gift, a wish granted. Stars carry the same contradiction. The calcium in your bones and the iron in your blood were forged inside a star that had to die violently to scatter those elements across the universe. Creation and destruction run on the same fuel line, not as metaphor but as literal astrophysics. French design student Gaspard Deveugle built an entire Rolls-Royce concept around that exact paradox.

Called Firmament, the concept deletes the vertical Pantheon grille that has anchored every Rolls-Royce face for a century. A low, pointed nose takes its place, tapering to a blade like a ship’s hull. Streaks of light rain across the hood and glass roof, dense near the windshield and scattering into faint dust toward the tip, the way a meteor burns brightest right before it disappears. The pattern converges on the Spirit of Ecstasy, as if she is the one point catching everything falling from the sky. It is the loudest thing on the car, and everything else has been quieted to let it read clearly.

Designer: Gaspard Deveugle

Deveugle is a 3D design student based in Valenciennes, France, with internship experience across BMW, Kingfisher, and RealNum, and Firmament sits inside a portfolio built almost entirely on reinterpreting storied marques. He has rendered a Bentley Speed 8 tribute, sketched a Bugatti Type 52, built cafe racer studies off Harley Davidson and Moto Guzzi platforms, and designed a yacht concept called Arcane. Firmament arrives as an internship project rather than a factory commission, posted on Behance alongside a companion breakdown of the sketch and modeling process behind it. That distinction matters here. Nobody at Goodwood signed off on deleting the grille, which frees the concept to treat Rolls-Royce’s most sacred design element as raw material rather than untouchable heritage.

Rolls-Royce has already flirted with turning night sky into physical form, just never on the outside of the car. The Ghost introduced its fiber-optic Starlight headliner in 2014, a swath of black leather stitched with over a thousand tiny points of light, and Spectre pushed that further with more than five thousand illuminated points woven into the dashboard fascia. Both live entirely inside the cabin, visible only to whoever paid for the seat. Firmament takes that same instinct and turns it inside out, moving the starfield from the headliner to the hood where anyone on the street can see it. That single move reframes a private luxury detail as the entire visual identity of the car.

The mood board Deveugle built around the idea, titled Power of Duality, leans on real astrophysics rather than loose poetry. Stars manufacture heavy elements inside their cores through nucleosynthesis, then have to die violently to scatter that material across the universe, meaning creation and destruction share the same fuel line by necessity, not metaphor. His reference imagery pairs a comet’s frozen tail with a supernova’s radial burst and a single meteor reflected over open water, the visual grammar he then translated onto sheet metal. That grounding shows in how the streak pattern behaves on the car itself. It thickens where energy would concentrate and thins where it would dissipate, following a logic borrowed from physics rather than instinct.

The rest of the surfacing supports that reading without competing for attention. A raised black spine splits the rear deck into twin fenders that taper to points, a quiet nod to Rolls-Royce’s own boat-tail coachbuilding, though it plays a supporting role here rather than the headline. Dark, turbine bladed wheels replace the static hubcaps Rolls-Royce is known for, hardware that stays upright on its axle no matter how fast the wheel spins, trading serenity for something closer to a hypercar’s stance. There are no visible door handles or shutlines anywhere in the renders, just one continuous poured surface running from nose to tail. Every panel gap that would normally interrupt a Rolls-Royce silhouette has been resolved into a single, unbroken skin.

None of this is destined for Goodwood’s production line, and that is fine. Firmament works precisely because it is unburdened by the things a real Rolls-Royce has to solve, crash structures, pedestrian safety, a grille that still needs to cool something even on an EV. What it offers instead is a sharp piece of brand thinking from a student still building his portfolio, taking a hundred-year-old grille and a hood ornament everyone stopped truly looking at and making both feel dangerous again. Rolls-Royce spends real engineering effort making its cars feel weightless and silent. Deveugle’s answer is to make one look like it just survived a meteor storm, closer to what the Spirit of Ecstasy was always chasing.

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Blackwing’s $400 Crate Is Every Writer’s Dream Gift Set

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Pencils don’t usually make people emotional. But Blackwing pencils have always been a little different. The brand, which revived the legendary Blackwing 602 after its original discontinuation in 1998, has spent years building something that goes beyond the pencil itself. It’s a whole philosophy about the act of writing by hand. And with the new Blackwing Crate Gift Set, priced at $400, they’ve essentially packaged that philosophy into a matte black box and sent it out into the world.

Let’s talk about what’s inside, because it’s genuinely a lot. The Crate includes 24 Blackwing pencils housed inside a walnut gift box, a One-Step Long Point Sharpener, a desktop sharpener, replacement erasers, a handheld eraser, three point guards, a pencil extender, a notebook clip, a Medium Slate Notebook in dot-grid, and an A4 spiral notebook in blank. If you’ve ever casually shopped the Blackwing site and found yourself adding one thing after another to your cart, this is essentially that cart, but curated and given a walnut home.

Designer: Blackwing

The walnut box alone is something worth pausing on. It has a cork-lined interior and a satisfying magnetic closure. It’s the kind of object you want to leave on your desk not because it needs to be there, but because it makes the desk look like it belongs to someone who takes their work seriously.

Blackwing’s four core pencils are all represented here: the 602, the firm-graphite original that built the brand’s reputation and was beloved by creatives from John Steinbeck to Stephen Sondheim; the Matte, which shares the same soft and expressive formula as the very first Blackwing; the Pearl, with its smooth and balanced Japanese graphite; and the Natural, a stripped-back version with an uncoated cedar body for a rawer, more honest feel. Each one writes differently. That variety isn’t just a marketing point. It means the set can genuinely work for a writer, an artist, a student, or someone who just wants their notes to feel a little more intentional.

I’ll admit there’s a case to be made that $400 is a lot for what is, technically, a pencil set. But I think that argument misses the point of what Blackwing has always been doing. These aren’t pencils in the same way a yellow No. 2 is a pencil. The brand occupies the same space as a well-made fountain pen or a leather-bound notebook: objects that are ordinary in function but considered in execution. When you buy something from Blackwing, you’re buying into a certain idea of how writing should feel, and the Crate makes that idea as complete and giftable as it’s ever been.

The packaging itself shows thought. The outer box is matte black with the Blackwing name in white. Clean, confident, minimal. It doesn’t shout. It doesn’t need to. The layered reveal inside, with a pull-out drawer for the notebooks, feels like the kind of unboxing experience that design enthusiasts and stationery lovers will genuinely appreciate. Gift sets at this price point need to justify themselves beyond just the contents, and the presentation here does a lot of that work.

What makes the Crate feel special rather than just expensive is how it covers every phase of the writing process. You have your pencils, your sharpeners for both at-desk and on-the-go use, your erasers, protection for your pencil tips when they’re not in use, and actual notebooks to write in. Nothing feels like filler. Everything has a job.

If you’re shopping for someone who already loves Blackwing, this is a clear yes. If you’re introducing someone to the brand for the first time and want to do it properly, this is also the move. And if you’ve been slowly accumulating Blackwing products one purchase at a time and wondering when you’ll finally have it all, the Crate is the answer to that question in one very satisfying delivery. The Blackwing Crate Gift Set is available now at blackwing602.com for $400.

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Bang & Olufsen Finally Made a Power Bank Worth Showing Off

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Power banks are among the most purchased tech accessories around, yet they’re rarely something anyone is proud to pull out in public. Most are plastic rectangles with LED indicators and brand names that read like Wi-Fi passwords. Even among the better-designed ones, the focus has always been on capacity and wattage, leaving the physical object as an afterthought. The result is a category full of capable but thoroughly forgettable hardware.

That’s an unusual entry point for Bang & Olufsen. The Danish brand isn’t known for accessories you’d stash in a drawer; it’s known for objects you’d set on a shelf and admire. So when it announced its first power bank, questions about specs felt almost secondary. What mattered was whether B&O could apply the same design conviction to something this ordinary. Going by what’s been revealed, the answer is yes.

Designer: Bang & Olufsen

The B&O Powerbank combines a glass surface with an aluminum frame, finished with diamond-cut edges and pearl-blasted textures. It’s the kind of hardware that feels deliberate in the hand, each surface treated with the same attention typically reserved for consumer electronics that cost a great deal more. It comes in two colorways, Infinite Black and Hourglass Sand, both chosen to match the Beoplay H100 headphones.

That pairing with the H100 isn’t incidental. The Powerbank was designed as a companion to B&O’s flagship headphones, a way to keep them running through long travel days without having to negotiate with airport power sockets. The colorway matching is no accident; the two pieces are meant to feel like a coordinated set rather than a spare part someone remembered to design at the last minute.

On the technical side, the Powerbank holds 5,000 mAh and supports Qi2 magnetic wireless charging at up to 15W, alongside a 20W USB-C output for wired devices. It accepts up to 18W via USB-C to recharge itself. Those aren’t record-breaking figures for the category, but it works cleanly with most Qi2-compatible devices, including the iPhone 17 series and the Google Pixel 10.

The more revealing figure is what B&O highlights for H100 owners specifically: five minutes of charging delivers up to 3.5 hours of additional playback. For someone wearing those headphones through a long-haul flight or an extended studio session, that’s a meaningful top-up that doesn’t require a hunt for an outlet. Snap the Powerbank on, keep listening, and put it away when you’re done.

There is, however, the price. At €145 in Europe and £125 in the UK, the Powerbank sits well above most Qi2-certified alternatives in this capacity range. Comparable 5,000 mAh magnetic chargers from brands like Anker and Ugreen come in at around $50 to $60. B&O is clearly charging a premium tied to design and heritage rather than specs, and buyers who understand the brand won’t be surprised.

B&O has spent decades building a reputation around objects that earn their place in a room, not just on a spec sheet. The Powerbank extends that same sensibility to the pocket. Pull it out at an airport lounge, and it won’t look like something that came bundled in a blister pack, which, for a certain kind of buyer, is precisely the point.

The post Bang & Olufsen Finally Made a Power Bank Worth Showing Off first appeared on Yanko Design.

The Sculptural Speaker Concept That Sounds Good From Every Spot in the Room

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Most wireless speakers look like speakers. They announce themselves with grilles and ports and branding, and they tend to disappear into a corner or a shelf where the acoustic compromise of their placement gets quietly accepted. The room works around the speaker rather than the other way around. For a category that has grown enormously in the past decade, the design ambition behind most of what’s on the market hasn’t quite kept pace with the technology inside.

The Mirage Onda concept comes at that problem from two directions at once. On one side is a five-decade-old Canadian audio brand whose reputation was built on omnidirectional sound, long before the concept became a selling point for portable speakers. On the other is a design studio that has treated the speaker not as a functional box but as a sculptural object with genuine presence in a room.

Designer: Andrea Ponti (Ponti Design Studio)

The brand history matters here. Mirage introduced the world’s first bipolar speaker in 1987, and spent the following decades developing omnipolar technology, the idea that sound should radiate in all directions as it does in a live space, rather than being aimed at a single listening position. That philosophy is what the Onda is built around. The speaker delivers a true 360-degree audio experience through its acoustic architecture: four woofers at the base produce warm, rounded bass that fills the room with depth and body, while an upward-facing midrange driver with a diffuser ensures even sound distribution, and a tweeter paired with a dedicated diffuser handles crisp high frequencies.

The result is a speaker that doesn’t ask you to position yourself relative to it. A discreet backlit touch interface sits between the lower body and the upper platform, while the removable magnetic upper grille lifts away to reveal the tweeter in Mirage’s signature deep purple. That upward-firing arrangement, coupled with the diffusers above and below, is what sends sound outward into the room in all directions rather than toward a fixed sweet spot.

Four polished aluminum pillars connect the lower body to the upper platform in a striking suspended configuration, while the distinctive rounded-square footprint, softened edges, and monolithic silhouette give the speaker a timeless character that integrates effortlessly into modern environments. The fabric grille wraps the body in a dual-color textile that adds warmth to what could otherwise be a purely hard-edged industrial form. Three colorways are available, ranging from a warm sand tone to charcoal and all-black, each one giving the Onda a different character while keeping its proportions unchanged.

Put it in the center of a room, and it works. Put it on a side table or near a sofa, and it still works, because the sound isn’t dependent on where you happen to be sitting relative to the driver. That’s the practical promise of omnidirectional audio at the room scale, and it’s something that most mainstream speakers, regardless of price, simply don’t attempt.

Onda builds on Mirage’s legacy, blending heritage with minimalism and contemporary sophistication. The design reflects clarity, balance, and sculptural presence, which is a rare combination in an audio product that still has to justify its place in a room by actually sounding good. Both sides of that equation matter here, and the Mirage Onda takes both of them seriously.

The post The Sculptural Speaker Concept That Sounds Good From Every Spot in the Room first appeared on Yanko Design.

C Seed’s Sculptural Bugatti N1 folding TV carries dynamic flair of the Tourbillon supercar

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Modern display technologies have come a long way in the last couple of decades, and so have the viewing experiences. Talking of the latter, no one does it better than C Seed, even though at a steep price. The Austrian high-end design brand has awed us with the 165-inch 4K MicroLED TV that disappears into the floor when not in use, and later with a TV that folds into itself within a metallic structure.

Anything new coming from them is deemed to be at the epitome of modern tech design, and that’s what the C Seed x Bugatti collaboration has materialized into. This is the Bugatti x C Seed N1 TV designed for purists who swear by the Tourbillon hypercar’s magnetism. The very same dynamic flair and emotional connection are now reflected in this sculptural C Seed folding TV.

Designer: C SEED x Bugatti

The car’s flowing contours and the precise measurements bring this colossal display into a league of its own. But it’s the calming Sierra of the display folding down into the Tourbillon’s distinct shape and then sliding off horizontally into the stand’s nest that sets this thing apart. It virtually turns into an architectural marvel in this configuration, and then when it’s time for a movie night, the N1 can open up over the course of 45 seconds with the push of a button. Depending on the sitting arrangement in the room, the TV can rotate 180 degrees like a smooth operator. Everything is effortless and creates an emotional connection, both when it is not in use and when it’s time for some cinematic entertainment with friends and family.

C Seed Bugatti N1 requires no structural integration and sits in your living room just like a luxury furniture piece. According to C Seed, the TV is “shaped by a commitment to precision engineering and uncompromising craftsmanship.” Every single detail, right from the silently unfolding MicroLED technology to the aluminum body in its finest form, is designed keeping in mind elegance, performance, and precision reminiscent of the world of automotive engineering. To keep the overall weight down, C Seed turned to carbon fiber, which speaks volumes about the ultimate refinement of the design.

The classy form of the TV is complemented by the sound system designed by Wisdom Audio. The housing has planar magnetic speakers that target a specific frequency range for perceived depth and clarity, no matter where the listener is positioned. Since we are talking about C Seed wizardry here, the speakers also retract into the sculptural housing when not in use. The display is also top of the line, incorporating the latest and greatest 4K MicroLED tech. Along with the Adaptive Gap Calibration for seamless panel transition for the perfect final unified picture, the stunning visuals match the audio for an immersive experience as a whole.

N1 TV is offered in either 110-inch or 137-inch size, and the patented folding display panel tech creates a single continuous screen even with multiple folding cycles. C Seed very rhetorically describes it as an engineered multi-stage movement that turns technical performance into a choreographed visual experience.”

There is no word about the pricing of this tech-infused kinetic sculpture for your living room, but coming from C Seed, it should carry an eye-watering price tag. One thing is clear: the folding display will come in bespoke colors and sizes for demanding users.

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ROG Just Made Gaming Peripherals You’d Actually Put on Display

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Gaming peripherals have gradually crossed from purely functional tools into design objects that enthusiasts keep, display, and collect alongside their builds. Limited-edition anniversary hardware has become part of that culture, giving manufacturers a chance to honor their history while reminding the community why certain names still carry weight. Making those commemorative pieces feel genuinely worthy of the occasion, however, is always the trickier part.

ROG, short for ASUS’ Republic of Gamers brand, is marking 20 years of gaming innovation with an anniversary lineup centered on a gold-and-black design identity it calls the Edition 20 colorway. Three peripheral additions sit at the heart of it, namely the Azoth Extreme Edition 20 keyboard, the Harpe II Extreme Edition 20 mouse, and the Keycap Mystery Box Edition 20, each making the case that high-performance hardware and collector-worthy design don’t have to live separately.

Designer: ASUS

The Azoth Extreme Edition 20 is a 75% gaming keyboard that wears the anniversary theme without being heavy-handed about it. Translucent keycaps reveal the mechanics below, and a detachable 24K-gold-plated nameplate at the front makes the occasion official without being excessive. The extended silicone wrist rest adds completeness to the package, anchored by a gold-toned aluminum-alloy base that ties everything together without introducing anything out of place.

Beneath that exterior, an adjustable gasket mount toggles between Hard and Soft typing modes, useful for anyone who games and types for long hours in the same session. The custom ROG NX Edition 20 mechanical switches are transparent, factory pre-lubed, and hot-swappable, while an OLED touchscreen with a three-way control knob handles quick adjustments. In 2.4GHz wireless mode, battery life stretches to up to 1,600 hours.

The Harpe II Extreme Edition 20 shares the same design language and makes a natural companion to the keyboard. Built on the pro-tested shape of the Harpe II Ace, it houses a 24K-gold-plated metal interior frame inside a crystal-clear shell, with an RGB light guide plate illuminating the components within. A display case ships with the mouse in the box, which feels entirely appropriate given how it looks at rest.

The ROG AimPoint Pro 65K sensor delivers 65,000 dpi with less than 1% CPI deviation and 8,000Hz wireless polling through ROG SpeedNova technology. At 82g with glass mouse feet already included, it’s ready for competitive play immediately. Battery life holds at up to 90 hours over 2.4GHz RF and 98.5 hours in Bluetooth mode, both measured with the lighting switched off.

For those who aren’t swapping out their entire setup, the Keycap Mystery Box Edition 20 is the most accessible entry into the anniversary series. Each box holds a randomly selected keycap in one of seven designs inspired by iconic ROG peripherals and the ROG Fearless Eye logo, built through casting, high-pressure forming, hand-painted finishing, and structural assembly. The obsidian-inspired base and refined detailing make each piece genuinely display-worthy.

The ROG Claymore design is the one most worth watching for, as it includes two interlocking keycaps that reference the original keyboard’s modular layout. A Special Edition crystal-like ROG Logo keycap is also in the pool. Available as a single unit or a six-piece box with no duplicates, the Mystery Box turns 20 years of ROG hardware history into something you can keep in the palm of your hand.

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