For the past two years, it’s been worth emphasising: the collectible design festival “The Collectible 2026” we’re talking about is happening in Brussels. The project, dreamed up by Clélie Debehault and Liv Vaisberg in Belgium, has since crossed the Atlantic, with a New York edition joining the party.
From 12 to 15 March, Espace Vanderborgt in Brussels is buzzing with designers from across the globe, each presenting one-of-a-kind, collectible, and utterly original works. In the heart of the building’s well-like atrium, the Barcelona-based collective Naked Space has installed “Resting Field” — a fluid, lounging cushion that couldn’t be better timed. After trekking five floors of design marvels, it’s exactly the spot you want to collapse on. I’d call it “The Faun’s Midday Nap”. Perfect for an Instagram snap, and if you fancy, you could have one of your own on the lawn for €9,500 plus VAT.
Spread across five floors, COLLECTIBLE Brussels 2026 has shaped a rich cultural landscape where contemporary design shows its full spectrum. Each object is a carrier of story, emotion, and cultural nuance. Sustainability and ecology remain headline themes this year, prompting visitors to consider how collectible objects can retain their value without harming the environment. Mass production takes a back seat here — every detail is intentional, every material considered.
The festival also highlights the meeting point of global craft traditions and contemporary design. Ceramics, textiles, and artisanal techniques from around the world merge to create a new visual language where craft meets innovation. Objects become cultural bridges, showing how local traditions transform in dialogue with modernity.
COLLECTIBLE makes it clear that collectible design doesn’t exist in a vacuum. Designers, curators, galleries, research platforms, and media all play their part in shaping value and helping objects shine. Young collectors, in particular, get a masterclass in distinguishing standout works and understanding the forces behind their cultural and market worth.
And then there’s authorship and inspiration. Where does homage end and copying begin? How do designers navigate a global visual landscape while balancing tradition with experimentation? Over nine years, COLLECTIBLE has become a true idea hub — a place where contemporary design reveals itself as a cultural phenomenon, uniting aesthetics, craft, economics, and social responsibility.
By the time you’ve explored COLLECTIBLE 2026, it’s clear that every object tells a story, every designer’s choice speaks of context, and the festival itself is a kind of “intellectual salon” for contemporary design — a place where the material and conceptual, beauty and critical thinking, mingle effortlessly.
At COLLECTIBLE Brussels 2026, a fresh and playful new section called Tablescapes has taken centre stage, turning the humble table into almost a leading character. Every object becomes part of a little performance — cutlery, plates, and accessories set the mood, tell stories, and create a sense of shared experience. Even those who normally think table settings are dull will find themselves intrigued. Materials, textures, and forms play with each other and with visitors, transforming the simple ritual of eating into a truly aesthetic pleasure. Among the standout projects this year are Clara Valdes, exploring tactile experiments; Giulia Cosenza in collaboration with Salon Poisson, where sculptural forms meet functionality; Janne Claes, who treats the table as a stage for interaction; and Worn Studio with Natalia Ortega, making everyday tableware poetic and expressive. Tablescapes demonstrates that collectible design is not just about objects — it’s about mood, emotion, and the small everyday miracles that can happen right at your table.
My personal favourite is Canadian designer Gab Bois, who sets the table with a healthy dose of humour — in fact, all her art pieces are laugh-out-loud funny. Shrimp-shaped earrings, a hot dog-shaped candle, and spilled orange juice as part of the décor of a round festive table all create a delightfully absurd spectacle. Growing up in her father’s Montreal workshop, Gabbi spent her childhood hands-on, constantly making, tinkering, and inventing — and it shows.
Her message to visitors at the collectible design festival The Collectible:
THANK YOU FOR DINING WITH US!
This table is closed, but the feast goes on.
We hope to see you again soon.
Various dishes were served, but nothing was actually eaten.
Please come back. gabbois.com