New to the Waste collection, the Waste Tile Cabinet is meticulously crafted in Piet Hein Eek's studio using traditional wood-working technique. It brings his quintessential vocabulary of recycled wood collage to a cabinet design of exceptional grace. Each cabinet is completed with a characteristic high gloss finish.

Eric Roinestad's ceramics employ an iconographic language to explore the deeply personal. With a background in graphic design, he wields an instinct for pictorial dialect, infusing his work with both universality and intimacy. His evolution harmonizes diverse aesthetics into a uniquely original approach. Taking influences from Bauhaus pioneer Oskar Schlemmer and the southern California landscape, Roinestad's artistic journey embodies his innovative vision.

Chris Wolston’s time in Colombia has spawned new work created by sand casting aluminum and this piece is no different. Featuring an exterior of exuberantly covered tropical motifs - artfully formed in place - this new shelf also features a cane structure. Like earlier collections, the work has a puzzle-like feel with intricate motifs that come together to create a strong visual impact. Wolston’s new furniture conveys his distinct narrative voice by employing aluminum pieces, based on hand illustrations, to present a tactile and compelling design statement.

Chris Wolston’s time in Colombia has spawned new work created by sand casting aluminum and this piece is no different. Featuring an exterior of exuberantly covered tropical motifs - artfully formed in place - this new shelf also features a cane structure. Like earlier collections, the work has a puzzle-like feel with intricate motifs that come together to create a strong visual impact. Wolston’s new furniture conveys his distinct narrative voice by employing aluminum pieces, based on hand illustrations, to present a tactile and compelling design statement.

A series of unique objects made of found metal combined with applied metal. Refined and polished surfaces contrasted with the raw patina textures of industrial materials. MRM (Marcin Rusak Manufacture) is an idea that was sparked from a desire to instill a level of emotional expressionism into the furniture landscape. Homogenizing the complexity of abstract painting with simplicity of minimalist sculpture.

A series of unique objects made of found metal combined with applied metal. Refined and polished surfaces contrasted with the raw patina textures of industrial materials. MRM (Marcin Rusak Manufacture) is an idea that was sparked from a desire to instill a level of emotional expressionism into the furniture landscape. Homogenizing the complexity of abstract painting with simplicity of minimalist sculpture.

Meret compositions explore the compositional arrangement of texture, surface and form through an ongoing series of works in mirror, glass and contrasting materials. The arrangement of forms and materials are to be seen as conversations between us (the designers) and art historical movements, moments in time and artists that we are most provoked by. Collaboration, juxtaposition and reductive processes are at play and each composition is firmly rooted in the arena of design, yet also offered as one-of-a-kind pieces, thus freeing each object from the weight of continued production - the result are objects that are more urgent, more loose and more experimental in hand-worked qualities, while at the same time, rooted in an attention to design detail that is the foundation of Ben & Aja Blanc's studio practice.

In a world of diminishing ideology, where industrial production has covered the whole planet with objects, our consciousness is increasingly influenced by merchandise: we are what we are, because of the things that we make. Memphis founders George Snowden and Nathalie Du Paquier have reunited for Materialism – an exhibition of furniture, ceramics, carpets and drawings that debuted at Salone del Mobile 2018.

In a world of diminishing ideology, where industrial production has covered the whole planet with objects, our consciousness is increasingly influenced by merchandise: we are what we are, because of the things that we make. Memphis founders George Snowden and Nathalie Du Paquier have reunited for Materialism – an exhibition of furniture, ceramics, carpets and drawings that debuted at Salone del Mobile 2018.

In a world of diminishing ideology, where industrial production has covered the whole planet with objects, our consciousness is increasingly influenced by merchandise: we are what we are, because of the things that we make. Memphis founders George Snowden and Nathalie Du Paquier have reunited for Materialism – an exhibition of furniture, ceramics, carpets and drawings that debuted at Salone del Mobile 2018.

Franz West reinterpreted the Privat Lampe by inverting it, and floating the chains horizontally to create a chandelier version of his iconic floor lamp.

A compact occasional upholstered chair with primary shapes for the base, back, and seat. Crafted from solid beech and birch plywood, it's available with a fixed or swivel base and can be customized with different fabrics.

René is much more than an ottoman. Sophisticated and discreet, it also becomes an informal seating accessory. The characteristic feature is the back, which functions as support but also as a decorative element, while making the ottoman easy to move.

The Standard Group Sofa Collection uses primary shapes for the frame, seat, and back. Crafted from solid beech and birch plywood, it features webbed seat bases and can be upholstered in a range of fabrics.

The Elliot is an intricately detailed table that harnesses De La Espada’s woodworking expertise in a form that captures the sumptuous qualities of a traditional American aesthetic in a more modern design language. It is available with a rectangular or oblong tabletop in a variety of sizes.

Elliot Chair was inspired by the juxtaposition of old and new designs seen in converted Brooklyn brownstones: modern with historical references. The ergonomically designed curved backrest is made from a series of carved wood components, revealing a stunning composition of grain patterns.

The Archway Mirror employs the classic architectural element to create a strikingly realistic illusion, seemingly opening a doorway through the wall into another space. The standard Archway features the mirror tint on the left side, but the mirror can also be ordered with the reverse orientation.

Taking its name from the limbs and body components which Wolston has integrated collage-like, this standout coffee table is a feast for the senses. Using Wolston’s freeform aluminum pieces, the table represents Wolston’s maturation as an artisan and furniture maker. Conveying his strong narrative voice, Wolston’s new furniture pieces employ freely illustrated aluminum pieces to present a tactile and compelling design statement. His exhibition, Lost in Paradise, debuted during New York Design Week 2018, and is an exclusive collection for The Future Perfect.

Inspired by cherry blossom branches and computer graphics, Charles de Lisle's Linden series blends natural forms and geometric shapes. The design features hexagonal brass conduit, resembling a video game tree, and draws from bicycle construction for its joint angles. The series includes hanging fixtures, table lamps, floor lamps, sconces, and flush mounts, while the Linden Vertical captures the playful essence of a branching form.

Glassblower Jochen Holz’s work is defined by both the potential and the limitations of his chosen medium. Reflective of his process, Holz is inspired by glass in its molten form, each piece feels as though it is in motion.

Introducing the Privat Lampe II with welded chain links, a remarkable lighting creation designed by Franz West for Memphis in 1989. This statement lamp showcases a captivating fusion of art and functionality, embodying the iconic design aesthetics of the Memphis movement.

Originating from Lex Pott’s dreamlike Transience Collection, the Transience Mirror was made in collaboration with David Derksen exclusively for The Future Perfect. In keeping with the designer’s celebrated practice – which tends to be highly conceptual in nature – the piece was inspired by the process glass undertakes over time; a slow discoloration and oxidization.
Pott’s Rotterdam-based studio has used this concept as the jumping off point to create a boldly geometric and wildly original mirror that both celebrates this commonplace material and subverts it. The mirror has been divided geometrically, with each panel suggesting states of ‘change’ and an object’s natural life cycle. An organic inspiration with a very technical and modern execution guaranteed to illuminate any environment.

Atelier Février’s hand-knotted Surya rug was made with silk and wool in 150-knot quality. The rug’s visually exuberant design was inspired by ancient drawings which, represented the sun and its rays. Drawing inspiration from astronomy and celestial maps from the 15th century, the Hélios Collection continues Atelier Février’s wild reimagining of traditional rugs. Visually explosive, the rugs pair bright graphic forms with mystical, glowing shapes.

Taking its inspiration in part from its namesake vascular plan, Atelier Février’s Fern rug casts a quixotic spell on any environment. As with many of Florian Pretet’s singular creations, the rug draws on trompe l'oeil technique, creating an illusory canvas that appears three-dimensional. The rug’s playful depth perception is further stretched by the use of 50% Tibetan wool and 50% fine Chinese silk. Made by Tibetan artisans, who’ve perfected a meticulous hand-knotted production process, the rug achieves the perfect synthesis of aesthetic modernism and humanistic craftsmanship.

An expansive spin on Marta Sala Éditions’ lauded Duda Chair, Dudotta renegotiates the dimensions of its classic forebear. Like its blueprint, Dudotta, with its low-slung lines and elegant silhouette, offers an elegant solution to traditional seating arrangements and can also be admired in the round.

The Brass Architectural collection is a curation of existing Michael Anastassiades products further developed into a complete family of simple but luxurious architectural fixtures. With a focus on simplicity and quality in the use of materials, the lights are designed to exude sophistication while remaining discreet within their chosen space. The collection is available in polished brass and in a variety of sizes.

The Mobile Chandeliers are delicate structures balanced in perfect equilibrium. Constructed following the principles of a mobile, these are arrangements of linear tubes, geometric light sources, reflective surfaces, and counterbalancing weights. The pieces rotate freely and delicately, creating an ever-changing lighting configuration unique to the space they occupy. Movements are created by hand and once the desired position is found the fitting will remain in a static position with intentional friction at each joint. This preserves the delicate balance of the piece and its counterweights.

Handmade, these sleek Beauty mirrors are crafted using polished brass or stainless steel and nickel plating.

Bec Brittain's Maxhedron is a study in material transformation through light and reflection. When off, the partly-translucent Maxhedron reflects and blends with its environment; when on, the dazzling inner constellation of bulbs projects bands of light onto nearby surfaces. Maxhedron is offered in multiple sizes and can be hung either vertically or horizontally.

Jason Miller’s Fiddlehead is a series of lamps, which derives its name from sprouting ferns. One end of Fiddlehead’s long, furling arm gently balances a hand-blown glass globe; the other uses the wall or ceiling as a counterbalance.