Design-Milk

Fragments of mirrored glass split, gather light, then come together as a new whole. In the storied rooms of Toronto’s Spadina Museum, an 1866 mansion, interdisciplinary artist Ry Van Der Hout’s sculptures catch light and open fresh ways of seeing and hearing family lore. In Broken Light, a deeply site-specific exhibition of Van Der Hout’s new work, opened at the museum on Aug. 26 and runs through Oct. 18.

Spadina Museum. Photography by Ry Van Der Hout.

“At the heart of In Broken Light is the understanding that shattering isn’t the end of a story—it’s the beginning of a new narrative,” curator Adrien Sun Hall says. “Ry Van Der Hout begins their sculptural practice with acts of intentional breaking, shattering glass and mirrors only to painstakingly solder them back together using traditional Tiffany stained-glass techniques. These intricately mended surfaces become metaphors for queer becoming and personal transformation. The fractures become apertures through which overlooked histories emerge, transforming the sculptures into contemporary reliquaries for lives remembered and forgotten.”

‘Open Wing Death’ by Ry Van der Hout. Photography by Van Der Hout.

Five sculptural interventions are staged across the mansion’s four stories, incorporating photography, stained glass, and mirrors. Responding to the house’s various rooms, the sculptures draw on research and conversations with spiritual leaders, family descendants, historians, guides, and conservators. The former resident families supply ample inspiration; their stories, ranging from forbidden love to fatal illness, are often stranger than fiction.

‘Tiber’ by Ry Van Der Hout at Spadina Museum. Photography courtesy of the artist and United Contemporary.

In the basement’s preserved archaeological dig site, a fractured disco ball spins to a NASA-produced audio track, casting a mosaic of light onto stone walls and infilled windows. Upstairs, a stained-glass sculpture printed with photographs of Tiber, a historical interpreter at the museum, has been shattered and reassembled. Van Der Hout made it from a reclaimed antique dressing-table mirror holder, found serendipitously in a dumpster at their studio.

“It felt like I got pulled into this story of an object guiding you to tell you that you are in the right place,” Van Der Hout says.

‘Orpheus Twice’ by Ry Van Der Hout at Spadina Museum. Photography courtesy of the artist and United Contemporary.

The largest work in the exhibition, Open Wing Death, is a 12-foot-high ovoid geodesic dome installed on the unrestored third floor of Spadina Museum. Added in 1913 as a sunlit sanctuary for a resident with tuberculosis, the room later housed the household’s domestic staff, to whom the sculpture is dedicated. Before peering inside, I catch stray glimpses of myself in the mirrored facets at various angles. For a split second, I appear to myself as a stranger, seen as if through someone else’s eyes, before recognition sets in.

‘The Shattering’ by Ry Van Der Hout at Spadina Museum. Photography courtesy of the artist and United Contemporary.

In Broken Light is on view at Spadina Museum in Toronto until Oct. 18.

When talking about luxury fashion, there are certain conventions that consumers have come to expect: sumptuous materials, opulent detailing, and conceptual—if not impractical—design.

Fortunately, Freitag designer Anne Bachmann doesn’t dabble in conventions.

Photography courtesy of Freitag

“I am fascinated by the effortless beauty of objects that were never designed to please,” she says, referring to the used truck tarps repurposed to create Freitag’s newest collection of high-end bags. The Reference collection launched Oct. 8 with four new bag designs that blend artistic upcycling and luxury. With an “elevated, minimalist aesthetic,” the Reference collection highlights what Freitag does best: tell a story through sustainable, unconventional, one-of-a-kind materials.

Photography by Timothy Schaumburg; courtesy of Freitag

When conceiving the design, Bachmann imagined a collection that transcended the typical bag experience. She aimed to create something practical, but elegant; one-of-a-kind, yet ever-evolving. When she was presented with used truck tarps, one of the company’s famed upcycled materials, she knew she had found the key component of the collection.

Tarps repurposed for the Reference collection. Photography courtesy of Freitag.

“Because we cut our bags from used truck tarps, every one-of-a-kind piece already starts out with its own history, character, and unique patina,” Bachmann explains. “And as you take it out into the world, it picks up your own daily scuffs, and becomes a real companion.” It also doesn’t hurt that the sturdy tarpaulins make for a bag that is as durable as it is stylish.

Photography by Timothy Schaumburg; courtesy of Freitag

Each of the collection’s four bags is designed with a trapezoidal silhouette, creating a light, dynamic flow without compromising its sculptural elegance. While there are core colorways—white, silver, red, blue, and a limited-edition black—the variation from bag to bag means each purchase is a unique work of art. Sourced across Europe and hand-selected by the production and sourcing teams based in Zurich, the tarp “patina,” or markings that uniquely adorn each bag, was a pivotal consideration when building each piece.

Photography courtesy of Freitag

“Every tarp ages differently on the road, creating subtle variations in color and character before they reach us. Hand-picking the variations in patina, meaning the beautiful marks that weather, environment, and even tree branches leave behind on the tarp during their first life, became equally as important as the colorways,” Bachmann adds.

Photography courtesy of Freitag

Of course, as the cliché goes, the devil is in the details. That is especially true for a streamlined design like the four featured in the Reference collection. To further elevate the design, each bag features a new label and magnetic clasp unique to the collection. To say Bachmann’s inspiration for the distinct clasp was serendipitous would be to discredit the thoughtfulness of the design; the idea came to her in Freitag’s Zurich factory when she noticed a peculiar hook mechanism on heavy-duty shelving.

Photography by Timothy Schaumburg; courtesy of Freitag

“I would describe it as opportunistic wandering,” she says of the moment. “Strolling through a space or an urban environment without a specific destination, keeping yourself completely open and receptive so you actually catch a spark of inspiration when it hits.”

The intersection of form and function creates a luxury experience that Bachmann hopes will naturally build an attachment that transcends typical fashion. “Emotional attachment prevents waste,” she says. “What we love and share a history with, we rarely throw away.”

Photography courtesy of Freitag

True to Freitag, the Reference collection extends the brand’s circular approach without sacrificing style or craftsmanship. To further encourage a long relationship between bag and owner, each bag comes with a detachable repair kit that can be taken apart and used to repair the bag with its original tarp material.

If there is one tried-and-true element of luxury, it’s exclusivity—the knowledge that the piece you own is the only one in the world like it. The Reference collection promises that every bag created is built to grow and evolve with every use.

Veronica Mishaan grew up with a love of design. Sure, it helps that her mother, Susana Mishaan de Millán, was also a successful designer in Bogotá and Cartagena, Colombia. She credits her mother with her lifelong passion for painting and fine art. “We have different styles, but she has taught me about confidence, layering, and proportions,” Mishaan says.

After graduating from Tufts University, where she studied quantitative economics and international relations, Mishaan wanted to pursue painting as a career. Her father, however, encouraged her to direct her art and design skills toward helping her mother with her interior design practice. “I realized interior design is just another art form,” Mishaan recalls. “And something that was supposed to be six months has turned into 16 years of work.”

Alongside her mother, Mishaan helped build M De M Designs, where the pair designed bespoke interiors and handcrafted furnishings in Bogotá and Cartagena. After six years, Mishaan assumed sole leadership of the firm and evolved the business into Veronica Mishaan Design House, where she began developing her own creative vision and international ambitions. Now with offices in New York City, Bogotá, and Bermuda, Mishaan oversees residential, hospitality, commercial, and product design projects worldwide.

On a clear day, the Andes Mountains in the background become part of the main living room’s interior decor, which prominently features artwork by Peter Halley. A custom sofa upholstered in Lee Jofa wool pairs with marble-top tables and a cast-bronze water lily table, arranged in a circle to encourage connection. “A successful space generates conversation,” Mishaan says. Photography by Max Burkhalter.

Mishaan’s artistic foundation and analytical mind inform her design philosophy. She approaches every interior as she would a canvas, “thoughtfully layering color, texture, geometry, and materiality to create spaces with depth, movement, and meaning,” she says. “When I’m designing a space, I try to balance the materials, the proportions, and the flow of a space. It changes with every client. I don’t like using the same style in every project I create. I use every project as an opportunity to learn more.”

Veronica Mishaan joins us for today’s Friday Five. We spent five minutes catching up with her to learn more about a 6,250-square-foot Bogotá penthouse she recently designed and the ideas that inspired it.

In the family room, dark blue grasscloth walls, a parchment-wrapped custom bookcase, blue leopard Stark carpeting, Lee Jofa mohair upholstery, and animal-print drapery create a layered yet inviting gathering space. Photography by Max Burkhalter.

Bogotá Penthouse

“This project in Bogotá reflects our core philosophy: spaces that evolve with time, embody personal narratives, and harmonize past and present,” Mishaan says. This apartment—which has been in the owner’s family for more than 30 years—blends art, treasured objects, and furniture collected over decades with contemporary pieces designed by the firm.

Guests are welcomed by a custom Rug & Kilim rug paired with a bronze sculpture from the family’s art collection. An Elsa Foulon porcelain pendant hangs above, while a striking cast bronze staircase railing—created from molds taken from an actual tree branch—extends through the home’s vertical circulation. Photography by Max Burkhalter.

What Inspired the Bogotá Penthouse 30 Years of Family Memories

The layout was reimagined for the owners’ current lifestyle while honoring the past. The renovation introduces custom tinted wide-plank oak flooring, a mix of recessed and decorative lighting, and walls finished in smooth plaster.

The highly personalized primary suite was relocated and enveloped in a rich navy wallcovering, with a bed upholstered in paisley wool, Kelly Wearstler bouclé chaise and bench, and custom brass, wood, and glass shelving. The primary bath features pink marble floors that continue up the walls and transition into blue-and-white waterjet marble.

A “dream dressing room” comprises mirrored walls, a custom parchment vanity, and a curved bench upholstered in Pierre Frey velvet. Guest rooms were tailored to the family, including custom bunk beds for the grandchildren.

Custom-built bunk beds maximize functionality while Temple Studio wallpaper introduces playful character for visiting grandchildren. Photography by Max Burkhalter.

“The client wanted this home to be updated to the new stage of life, but did not want to erase all the memories that were lived in that space for 30-plus years,” Mishaan says. Furniture and artwork were reused and placed in new locations; the desk in the primary bedroom, for example, once sat in the living room.

Bogotá’s Greenery and the Andes Mountains

The apartment’s views of the Andes Mountains also influenced the design. “The view of the mountains of Bogotá is not a view you get in many metropolitan cities, so I thought it was something worth using as an inspiration,” Mishaan says.

Photography by Max Burkhalter

That landscape inspired the playroom’s sage green millwork, honey oak floors, dark wood doors and baseboards, and natural marmorino plaster walls. Earthy tones throughout reference the surrounding terrain, while wood and botanical motifs reinforce the connection to the landscape. The dark blue blossom wallpaper by Phillip Jeffries in the primary bedroom creates a serene, transportive atmosphere reminiscent of a peaceful garden.

Marmorino plaster walls provide a refined backdrop for a sage silk Rug & Kilim rug in the secondary living room. Existing furnishings were preserved, while the game table chairs were refreshed in Nobilis fabric to seamlessly blend heritage with contemporary comfort. The client’s personal art, including Flow Followers, 2011, by Patrick Tschudi. Photography by Max Burkhalter.

The Owners’ Art Collection and Material Palette

The art collection anchors the space with cultural and emotional significance, featuring works by Peter Halley, Sophia Vari, Pedro Ruiz, and Larraz. However, Mishaan explains that the selection of materials ultimately drove much of the project. “There was no clear storyline,” she notes. “It became a balanced combination of the materials that felt right to the client and myself.”

Original built-in bookcases and wall paneling in the home office were lacquered in deep blue, extending onto the ceiling for a dramatic monochromatic effect. Existing furnishings were reconfigured, while a blue leopard Stark carpet introduces texture and personality. Photography by Max Burkhalter.

The thoughtful conglomeration of materials, textures, and patterns includes leopard Stark carpets, printed linen window treatments, a reused antique Aubusson rug, a wool bouclé sofa, and dark brown velvet window treatments. Custom furnishings, millwork, bronze hardware, and architectural details add a personal touch, while honey-toned wood flooring, dark wood accents, bespoke doors, and a custom family room bookcase wrapped in white parchment add warmth. “Extensive use of marmorino plaster throughout the common areas [creates] warmth and softness,” Mishaan adds. 

Artisan workshops throughout Colombia produced much of the custom furniture and millwork, giving the apartment another connection to the place it calls home.

For yacht owners arriving in a Mediterranean port, finding a way to explore the surrounding town presents a different sort of transportation challenge. Zipping around on a Vespa might sound charming, but not everyone is made for the scooter life. Italian auto custom shop Garage Italia has created its own take on the classic Fiat 500 Spiaggina to give the yachting crowd a stylish alternative for getting around town.

Photography courtesy of Garage Italia

At its core, the Spiaggina is a humble Fiat 500. The “Cinquecento,” as it’s called in Italian, was created to be to Italy what the Mini Cooper was to Britain and the VW Beetle to Germany: small, basic transportation to bring mobility to the masses in the post-WWII era. The original Fiat 500 Jolly, also known as the Spiaggina, transformed that practical foundation into a doorless, open-air vehicle designed for leisurely drives along the Mediterranean coast. With its distinctive woven seating and removable canopy, it became a fixture of Italian resort culture.

Photography courtesy of Garage Italia

The Garage Italia remake distinguishes itself from its forebears by using electric power, with a rear-mounted motor delivering 13 horsepower and 60 lb-ft of torque. Hardly muscle-car statistics, but it’s enough to get the convertible up to more than 45 miles per hour. The 11 kWh battery gives it 87 miles of range on the WLTP test cycle. That should be more than enough for short trips around coastal towns, while electric power eliminates the need to carry additional gasoline aboard a yacht.

Photography courtesy of Garage Italia

But the other way this Jolly stands out is a bit more obvious: it’s extensively customizable. The sheet metal comes in 18 shades (off-menu colors are also an option), and the weather-resistant roof, cushions, and other components are available in dozens of fabric patterns from Italian textile company Mariaflora. The seats are handcrafted by Bonacina, an Italian furniture maker specializing in woven designs since 1889, and are available in natural or tinted rattan or Polycore, a composite material designed to withstand sun and salt exposure. Even the flooring takes its cues from the marine world, using durable, waterproof EVA material from ItalDek. And as with Porsches, Ferraris, and all sorts of other exotic machinery these days, you can configure your ideal version on its maker’s website.

Photography courtesy of Garage Italia

At €85,000 (around $97,000) before options and taxes, this electric runabout costs roughly as much as a BMW 7-Series. It’s a considerable departure from the Fiat 500’s affordable origins, but practicality has never been the point of the Spiaggina. With its open-air design, handcrafted materials, and seemingly endless customization options, Garage Italia has transformed a humble Italian icon into something closer to a bespoke design object on wheels.

Photography courtesy of Garage Italia

The kitchen in Josephine Yaa Akuamoa’s new home on Copenhagen’s Paper Island spent its first five years in a workspace. Danish kitchen design company Garde Hvalsøe created it for Akuamoa’s studio, File Under Pop, before moving it into her home as the space’s central element.

Photography by Heid Lerkenfeldt

Built in ash on a zinc frame, the kitchen is Garde Hvalsøe’s Solid model. Long, wide planks run across the finger-jointed drawer fronts to show off the grain. Each drawer has chamfered sides, allowing them to sit close together and read as a single plank. The upper cabinets use the brand’s Koshi-do fronts, developed with Copenhagen-based OEO Studio to combine Japanese aesthetics with Danish craftsmanship.

Photography by Heid Lerkenfeldt

Søren Lundh Aagaard, partner and CEO of Garde Hvalsøe, had previously worked with Akuamoa on another home. “Bringing something previously used and lived in into a newly built space was both a challenge and a statement,” he says. Akuamoa points to the zinc framing, the lava sink, and the pale ash. “The three materials complement each other beautifully and age with grace,” she says.

Photography by Heid Lerkenfeldt

Before the kitchen went in, the team stripped the house back, demolishing the existing kitchen and its electrical installations, the bathroom, the wooden wall panels, and the staircase connecting all three floors. The kitchen and dining area now take up the ground floor, with bedrooms on the middle level and an adaptable room at the top. One side of the house looks out over the sea and sky, and the other onto a shared garden. Garde Hvalsøe also made the bespoke ash wardrobes.

Photography by Heid Lerkenfeldt

Paper Island served as an armory for the Danish navy under Christian IV and later as a paper warehouse for the national newspapers. The new building’s contemporary architecture draws on the island’s historic harbor warehouses.

Wooden maritime gates frame the structure, and a diagonal element in the roof references Copenhagen’s harbor architecture. Akuamoa’s interior takes its cues from the water and open sky on every side of the island. The house uses nearly equal parts wood, raw stone, and ceramics. Ash runs throughout, and the limestone echoes the sandstone harbor walls and the yellow brick of the neighboring buildings.

Photography by Heid Lerkenfeldt