Broadly speaking, Collectible Design possesses several key characteristics: craftsmanship, rarity, intentionality. But what is it all about?
Collectible
Let’s be honest: people collect teaspoons. Which rather proves the point that value is an entirely subjective notion. As a term, Collectible implies rarity - an object of high significance or value, coveted by those who collect for passion, investment or both. Unsurprisingly, Collectible Design appeals most to people who are particularly passionate about design, interiors, furniture, architecture, objects and art. Some obsess over high-performance luxury cars; for others it’s first-edition books, sneakers or fine wines; and for some of us, it’s the objects we fill our personal spaces with.
For an item to be Collectible, it’s assumed to be rare - be it because of availability, means of access or both. In the historical context, this can apply to a vintage work of cultural significance (once mass produced and now no longer in existence), so when a work of high quality and demonstrable provenance rolls along, there’s a small section of the population (hand-raised over here) that gets all tingly and giddy with excitement. On the contemporary practice side of the fence, the works are either unique or produced in limited editions of 8-12 by venerated makers and named artists.
Design
For the purposes of this musing of mine, Design encompasses furniture, lighting and objects which transcend pure function and often break aesthetic moulds while they’re at it. Whilst works may have a function - taking the form of a chair you sit on, a table you can eat at, a light you can read with - the execution is crafted, possibly sculptural, even artful. The distinguishing feature of Collectible Design is the intentionality in the conceptual approach, the innovation of materiality and the rigour of craftsmanship employed in the making of the piece. Works intersect with the art world in the sense that they are composed to speak to us, conjure a response, evoke a feeling, explore a theory or tell a story the creator wants to share. In doing so, the work challenges expectations of how that functional thing should behave, and in turn changes our relationship to these objects.
But Why Design? (Might you ask)
Humans are meaning-making machines; we imbue inanimate objects with significance. Consciously or not, we employ objects to tell stories, send messages and convey signals about ourselves (or more often than we care to admit, how we’d like to see ourselves) to the world. Alain de Botton once remarked that “Any object of design will give off an impression of the psychological and moral attitudes it supports,” and went further to say, “In essence, what works of design and architecture talk to us about is the kind of life that would most appropriately unfold within and around them. They tell us of certain moods they seek to encourage and sustain in their inhabitants.”
For the constitutionally sceptical amongst us, the lesson here is this: you may be able to fill your home with objects which possess certain traits you’d like projected to the world (success, sophistication or even a certain joie de vivre); however, the item is entirely powerless to enforce behaviour in the owner. Buyer beware. For the sanguine set, this translates to spaces which are enriched, dynamic and inspiring - places that invoke joy and wonder in those lucky enough to enjoy them. Amen sister.
But Why Collect?
Some are deeply passionate about design and how it can transform our experience of space - I place myself in this category. Others recognise the growing acceptance of design as an investment class, and one need only look at the 2026 Sotheby’s auction of Jean and Terry de Gunzburg’s collection, which yielded a $96M USD result, as validation of the notion. This is driven by the global growth of high-net-worth individuals, coupled with increased interest in hyper-personalisation of private spaces and interior design, as well as the expansion of design-focused galleries and secondary markets. Altogether this creates an ecosystem that shows no signs of abating. Still, watching a series of Claude Lalanne mirrors more than double their estimate to sell for $33.5M USD at that same auction would make anyone reflect on the vast spectrum of what people value. There are plenty of punters out there who want what no one else has - it’s the whole reason the global luxury market exists.
The best advice I ever received was simple: Go view as much as you can in person. And then, if it resonates, do your research (and more research). Speak with galleries, get to know the makers and the thesis behind the works. But ultimately, the value of the work is for you to decipher.
