Red Alert: Year of the Fire Horse

Inspired by the Albanian shkam, a household stool rooted in daily life and ceremony, the BOLD Shkam translates heritage into a pared-back, sculptural form. Constructed from plywood with a water-based finish, it reads as both functional and symbolic. The piece works as seating, side table, or standalone object within a space.

Bandiera n°17 by Susanna Costantini treats red as a monochromatic statement. Handwoven in cotton, linen, and silk, its surface shows the nuance of a fully artisanal weave. The impact comes from hue, depth, and restraint.

Cast in red resin, this low table carries a wide stance with bending legs that flow into an irregular, sculptural form. Amber-like translucency and heat-shaped deformations give the surface depth and variation. The piece reads as both companion table and luminous object.

The Dark Ruby pendant lamp from the Glass Drops series pairs a simple silhouette with richly saturated red glass. Mouth-blown in a deep ruby tone, it casts a warm, atmospheric glow. Small variations in color and texture reflect the handmade process.

The Candy coffee tables use bold, organic forms that feel fluid and in motion. Curving silhouettes catch light and cast shifting shadows across the space. Each piece acts as a focal point, led by color and sculptural presence.

Anna Jožová’s Lava vases in red-orange glass layer molten color with copper wire to create a sense of inner movement. Enamel flows through the wire structure, giving each vase a dynamic, lava-like appearance. Inspired by volcanic force, the series channels heat, risk, and transformation.

The Pin shelves by hermhaus use a simple system of vertical supports and horizontal planes that stack and align with ease. Their modular structure allows units to build upward or outward without complex assembly. The result is a clean, graphic storage system shaped by repetition and color.

New Shoes is a playful stool defined by its sand-cast aluminum and rubber “feet” paired with a thick birch seat in a striking red stain. The gently concave top and rounded edges soften its profile. A small dose of ornament turns a simple stool into a characterful object.

Pani Jurek’s ELO mirror surrounds the reflection with bright red ceramic ripples inspired by water’s expanding rings. Each element is hand-glazed, giving the surface depth and individuality. The name nods to a casual greeting between viewer and mirror.

Finished in bright red, the Oppse Chair rethinks seating through a 45-degree rotated seat and a tripod base. The shifted geometry changes both posture and perception. It reads as energetic, unconventional, and deliberate.

Lovers brings together two light sources that meet as one, echoing the closeness of a new relationship. Soft light and paired forms create a sense of warmth and intimacy. The piece frames lighting as a radical gesture of connection.

Afterimage treats glass as a live material shaped by breath, gravity, and heat. Pigmented layers build a dense chromatic field, with process marks left in plain view. The result feels immediate and unapologetically material.

Inspired by weathered furniture found in Tbilisi, this chair recomposes felt, oak, and stainless steel into a structured, tactile form. Part of the Café Iris collection, it translates urban traces into design language. Custom colors, including red, add a strong visual note.

Referencing the torii gate, this stool builds its form from arched supports and horizontal beams that anchor it visually. Linseed-oil-stained wood highlights the grain, while aged brass details add a sharp accent. The result feels architectural and deliberate.

Ted VanCleave’s Reflexions mirrors use leather to build fluid, sculptural frames in bold, saturated color. Folds, peaks, and valleys catch light from different angles, shifting the mirror’s presence as you move. Each piece reads as both reflection and statement.

This table lamp by Studio Fabius Clovis uses a geometric, blocky form to push beyond standard lamp silhouettes. Its saturated red-orange finish brings heat and immediacy to a space. Sculptural in presence, it still delivers a soft, ambient glow.

The Bloom vase by František Jungvirt shapes heart-like curves in deep ruby glass. Colored with colloidal gold, the material carries a dense crimson tone long associated with luxury. Each piece is mouth-blown, cut, and polished to a high gloss.

The Void by Ieva Gudelaitytė uses a red-toned mirror to reflect the pull of youth, risk, and self-exploration. Drawing on the symbolism of red lipstick, the piece connects color with memory and impulse. It reads as both reflection and emotional marker.

The Otto bench by Yellowdot reinterprets ottoman divan seating as a single, monolithic form. It is upholstered in shimmering red kutnu, a fabric once reserved for royal use and still woven by a small group of artisans in Gaziantep. The piece brings historical textile into a clean, contemporary silhouette.

Underneath Me by Federica Zama draws on Art Nouveau ceramics and the silhouette of the female body. Its sinuous form and floral decoration reference drapery, skin, and bloom at once. The vase reads as a contemporary homage to femininity and ceramic tradition.

Studio Onno Adriaanse reworks standard pine beams into a stool defined by bright red stain and block-like geometry. The modular composition highlights both structure and surface. Raw timber takes on a graphic, sculptural role.