Collectible returned to NYC in late summer 2025 following the event’s strong debut a year prior in 2024. This edition moved locations, still within the Water Street complex, to a larger single space on the 39th floor of the Maiden Lane building. The gutted raw space was divided up with temporary partitions, resulting in a maze wandering experience getting around the show. One other quirk about this location were the wraparound windows. The views of the East River and lower Manhattan were pretty amazing and drew my attention away from the show multiple times. The location was great, locking in focus was more of a challenge than a windowless exhibition space.

The 123 exhibitors were organized in seven categories, Main, New Garde, Bespoke, Vignette, Curated, Fashion and Special Projects. However the overall tone of the show was pretty aesthetically similar. The majority of the work reflected sculpture, handmade and simple form characteristics. A lot of pieces were on the edge of functionality concerns and created more for interior design drama. The typical ‘luxury’ living unit in NYC is a majority glass walled space so maybe the only place or art left is on the floor.

Belgian designer Lionel Jadot’s collection of furniture incorporating tire treads, rebar and salvaged industrial parts are pieces for the truly adventurous living space. I view this more as a concept collection akin to runway couture or concept cars than remotely practical furnishing design.

Heim+Viladrich were at the other end of the spectrum with a group of precisely engineered seating, lighting and organization pieces with a subtle nod to Deconstructivism. All the pieces had just enough informality to make the collection distinctive.

Lastly the Brochette chair from Montreal-based Atelier Alz x Alexis & Vanessa is an interesting take on the typical lounge chair design. Made completely of wood, the three seat and leg panels are joined to two rails that appear to cantilever in space.

Photos and Text: Dave Pinter