Design, Crafts. Now in its ninth edition, the Collectible fair in the Belgian capital brought together galleries, independent studios and design collectives in dialogue with select curators, institutions and foundations. Many minds and hands for a shared vision: championing forward-thinking contemporary design at the intersection of authorship and craftsmanship. Here’s a look at what we liked most at Collectible Brussels 2026.
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At the entrance of the fair, design collective Naked Space presented a massive, translucent inflatable sofa resembling a morphed sports car. The piece was born of a collaboration between Barcelona-based Vasto Gallery and Spanish brand Project Lobster, and marks the launch of a new inflatable furniture brand — a bold opening statement, to say the least.
That spirit of material investigation continued with Paul Coenen and Rino Claessens, who presented new works from their ongoing exploration of furniture formed from flat sheets of metal. Their showcase featured new pieces from the Tension series — in which steel is bent and held together solely by internal force, without screws or welds — alongside earlier works tracing the evolution of this research.
Brushed aluminium deliberately contrasts with hand-lacquered cotton components in a striking chair by Belgium-based designer Linde Freya Tangelder, presented by Uppercut gallery in Antwerp. Part of her Reworked Series, the seat establishes a compelling dialogue between architectural thinking and furniture making, exploring the human shelters we continuously seek: “from coat, chair or house, the common denominator is that we envelop ourselves with a layer, a shelter to find protection and comfort.”
French multidisciplinary designer Hadrien Hach works at the crossroads of architecture, craft and sculptural object-making. For COLLECTIBLE Brussels 2026, he presented Frozen Glow, a series of luminous sculptures inspired by frost and ice. Developed through Silk Crystal — a material created by crystallising technical silk into translucent structural surfaces — the works transform light into texture, presence and atmosphere.
South Korean designer Jun Hyoung Kim wondered, “Why do we so easily believe in superstitions that lack scientific evidence?” His piece Irreplaceable Filter draws inspiration from mineral springs believed to contain the vital energy of nature — though recent water quality tests have shown that some of these springs are not as pure as once believed. Using hexagonal glass plates that hold water alongside the familiar pipes found at mineral spring sites, the installation examines how certain forms and structures become objects of faith.
From the conceptual to the tactile: the SIE70 armchair by Polish designer Paweł Grunert, presented by Warsaw-based Objekt Gallery, combines flexible, rustling wicker with cold, hard, mirror-like steel. The seat resembles “a crust of an absurd creature or a piece of fruit — hairy and disturbing. It requires distance – both in space and perception.” Contrary to first impressions, though, the design is affectionate and comfortable — and it certainly rustles in greeting.
Introduced this year, the TABLESCAPES section of COLLECTIBLE Brussels 2026 showcased contemporary practices in the arts of the table, approached as a space of design, hospitality and social interaction. Designers and studios presented singular tables or complete dining settings, reflecting on gesture, materiality and the ways objects structure moments of gathering.


















