A seed in a little pot, in a corner with light, with just enough water and patience. At first, almost nothing happens. Then suddenly a shoot, a few needles, a fragile beginning you hardly dare to touch. You watch, you wait, you give it what it needs. Slowly it grows sturdier. More green appears, more shape. You move it into a bigger pot, and after a few years you recognise it: a Christmas tree in the making. Not perfect, not finished, but carefully raised.

DDW Eindhoven always feels close to home, geographically and creatively. Paris (M&O) is where I look for newness in interiors, accessories, materials and colour; Milan is the high-end design feast; Eindhoven is that gentle week among innovators, moving from halls to museums, from conversations to material exploration, from curated shows to the tiniest details.

After visiting Maison & Objet, I stayed in Paris for two more days. I spent them wandering through the city, discovering new galleries, walking past hidden courtyards and visiting shops and galleries taking part in Paris Design Week.

My summer was a busy one. Between travelling, finishing my trend book and keeping up with appointments, I was determined to make time for Paris. September in the city is always a joy – the pleasant temperatures, the gentle light and the familiar rhythm of Paris Design Week, with a full day reserved for Maison & Objet.

From overseas suppliers I often hear the same tension: in Europe, price dominates decision-making, while in the US tariffs add constant pressure on margins. The market feels trapped. There must constantly be something new, yet it cannot cost anything.

It’s here: my new trend book ATHOMESS27 is finished. Months of research, photographing, traveling and writing come together in seven inspiring themes that shape the interior and outdoor summer of 2027. From the monumental and fiery Magna Forma to the playful luxury of Dolce Framenti, from the earthy softness of Clay Day to the fluid movement of Aftertide. Each theme is a world of its own, built from colours, materials and stories that make the spirit of the times tangible.

Summer holidays have started in the Netherlands. Calendars are clearing and routines are slowing down. While others take a break, I am still working behind the scenes. My new trend book for Spring Summer 2027 is nearly finished. It is filled with new colour cards, materials, design directions and themes. Some of the tones from Avant Opale, last year's theme, continue to flow gently through.

Yesterday, July 5th, was my birthday. No cake, no guests. This year, I spent the day with my daughter on a trip to the Marker Wadden, because I love water, the Dutch Wadden Islands, nature and photography.

Upon entering the inner courtyard of Palazzo Litta during Milan Design Week 2025, my gaze was immediately drawn to an expansive surface of terracotta-coloured, sand-like material. An earthy ground layer that covered the square in a single, unbroken gesture. Above it hung a large banner, printed in both English and Korean: “Nobody owns the land / 땅은 누구의 소유도 아니다.” A powerful opening to an exhibition where materiality, trace, and connectedness took centre stage. No loud spectacle, no design as performance. Instead, a quiet installation where clay, memory, and the act of making played the leading roles.

Photo by Khai Islam