Collectible Brussels 2025: Still Experimental, Now International

Now running editions in both Brussels and New York, Collectible has become a transatlantic fixture in the calendar for design-world insiders. It’s one of the few fairs that champions independent design studios and unrepresented designers alongside galleries, which is more important than it sounds. Most collectible design fairs are gallery-only, making it hard for designers—especially those without gallery representation—to show their work in front of the right audience: interior designers, collectors, and curators.

As a reminder: trade shows are typically B2B, high-volume events for wholesale and commercial deals. Design fairs are more curated, narrative-led, and positioned somewhere between commercial and cultural. Collectible successfully bridges both by spotlighting limited-edition, one-of-a-kind, and small-series work while still offering opportunities to connect with major buyers.

Highlights from the Fair

This year’s Collectible took place across four floors in Brussels, each with its own curatorial structure: Main & Bespoke form the core of the fair, showcasing a mix of international galleries and independent studios—where established names and emerging talents sit side by side. New Garde is dedicated to young galleries and collectives under three years old. Architect <=> Designer gives architects and interior designers space to present their own furniture lines. The Outdoor section, inaugurated last year, invites studios to exhibit a single piece of collectible outdoor design within a conceptual garden. And finally, Curated, which this year explored The Reality of the Virtual—a theme developed by New York-based artist and writer Brecht Wright Gander, focusing on the intersection of AI, digital processes, and traditional craftsmanship.

From the Main Section, Max Radford Gallery was a standout. Returning to Collectible for the third time, the London-based gallerist brought a tight, compelling group of seven designers and artists: Lewis Kemmenoe, Tom Bull, LS Gomma, Amelia Stevens, Carsten in der Elst, Eddie Olin, and Grace Prince. The presentation mixed experimental materials and sculptural forms—standouts included Tom Bull’s Hardcore Cottagecore (Shaker Edition) stove, Lewis Kemmenoe’s striped coffee table and alabaster vase, Amelia Stevens’ elegant steel and glass side table, and LS Gomma’s XR Mesh seating, reminiscent of Italian Radican Design of the 60s. Together, the works struck a balance between collectible craft and a minimalist, utilitarian aesthetic.

Lewis Kemmenoe’s Striped composition coffee table and alabaster vase with Amelia Stevens Species of Table and Other Pieces stainless steel side table, as part of the collection presented by Max Radford Gallery. Photography courtesy of the gallery.

In the Bespoke Section, Belgian designer Maarten De Ceulaer debuted Cairn Lights, a sculptural lighting series inspired by the ancient practice of stacking stones to mark memory and direction. Each lamp was composed of hand-selected, tumbled stones and colored glass, carved to appear delicately balanced while serving as both base and shade. Subtle and grounding, the hidden light sources enhance the natural textures of each piece. Every light has its own distinct personality, shaped by the unique stone De Ceulaer selects.

‘Cairn Lights’ by Maarten De Ceulaer for Collectible 2025, image courtesy of the artist.

In the Curated section, The Reality of the Virtual was a compelling highlight—especially for fans of experimental design. Standouts included works by 9+1 (Japan), Studio Elena Genesio (Netherlands), Thilo Reich (Germany), and Mati Sipiora (Poland). A personal favorite was the work of Adir Yakobi, his “treasure box” and lamp from his Clam season collection, pink and otherworldly. The scenography was as strong as the work itself, pushing the conversation forward about how collectible design exists both materially and conceptually.

The Reality of the Virtual, photography by Duyi Han

One of the more surprising moments of the fair came in the stairwell, where Studio WEINBENAMI’s installation A Superyacht Encounter stopped me in my tracks. Unexpectedly tucked into a transitional space, the piece offered a playful critique of the superyacht as a modern-day symbol of success and excess. Known for their multidisciplinary approach to spatial design, WEINBENAMI used the installation to subvert the visual language of luxury, challenging the mythos of prestige with a sharp, conceptual twist. It was clever, spatially aware, and refreshingly self-aware.

WEINBENAMI’s installation, A Superyacht Encounter. Photography by Ronald Smits

Collectible fills a much-needed gap in the design landscape—offering thoughtful, design-forward visibility to studios and designers who might otherwise fall between the cracks of gallery-only fairs or volume-driven trade shows. Its inclusive format and curatorial approach make it a rare platform where both emerging and established voices are presented with equal care. With its successful expansion to New York last fall, Collectible is also helping foster the kind of design community NYC has long lacked: one that truly supports and celebrates its next generation of independent designers. I’m already looking forward to seeing how both editions evolve in the year ahead.