Blog TSK

A $2,699 Gaming PC That Doubles as a Display Case for Figurines

Cables are the dirty secret of PC building. No matter how carefully chosen the components are, or how expensive the case gets, the tangle of power, data, and fan connectors that crisscross the interior of most gaming desktops eventually undermines every effort at a clean aesthetic. The glass side panel that was supposed to show off the build ends up framing a web of wires that even the most diligent cable manager struggles to fully tame.

The Maingear Zero treats that problem as the actual design brief. Its patented MG-RC, or Rear Connection, system moves every motherboard connector to the back and underside of the board, clearing the visible interior of cables entirely. Paired with a single, seamless 4 mm tempered glass curve that wraps the front and side of the chassis without a single seam or pillar, the result is a desktop that looks like it has nothing to hide, because it genuinely doesn’t.

Designer: Maingear

Seven fans work to keep the hardware running at full performance without drawing much attention to themselves. A mix of standard and reverse-blade units pushes cool air in through the front and exhausts it out through a 360mm AIO liquid cooler at the top, all following a single front-to-back airflow path. The reverse-blade intakes are specifically designed so the fan blades themselves don’t interrupt the view through the glass, which is a level of detail that most cases simply don’t think to address.

All RGB lighting inside the Zero is diffused rather than sourced from visible diodes, meaning the light saturates the interior without any glowing point of origin to break the illusion. The whole package measures 236mm wide, 421mm tall, and 460mm deep, which is more compact than a traditional mid-tower while still accommodating a full-sized GPU and the 360mm cooler overhead. It doesn’t look like a PC that compromised on size to achieve the aesthetic.

The hardware ceiling is genuinely high. Configurations top out at an NVIDIA GeForce RTX 5090 paired with an AMD Ryzen 7 9850X3D or Intel Core Ultra 7 270K Plus, 32GB of DDR5 memory, and a 2TB NVMe SSD. The chassis uses standardized mATX components throughout, with no proprietary parts, so future upgrades don’t require a trip back to the manufacturer.

Beyond the hardware, the Launch Edition adds a pair of tool-free snap-in display stands inside the chassis, one for figurines and one for brick builds. The stands sit inside the case floor where passive airflow keeps whatever’s displayed inside dust-free. It’s the kind of feature that turns the interior from a hardware showcase into something closer to a display cabinet, which only makes sense given how much effort went into eliminating everything else that wasn’t worth looking at.

Every system is hand-built in New Jersey and ships with no bloatware pre-installed. Pricing starts at $2,699 for the base configuration, with the top-end Launch Edition Champion reaching $6,799. Built around the premise that nothing inside should be hidden, the Zero demonstrates how the best-looking gaming PC doesn’t have to sacrifice anything to get there.

The post A $2,699 Gaming PC That Doubles as a Display Case for Figurines first appeared on Yanko Design.

The Hanoi House With 100 Windows and No Two the Same

The name alone stops you. 100 Windows. Not “The Pavilion House” or “House No. 7” or something equally poetic and vague. Just a count. A blunt, almost confrontational declaration of exactly what you’re getting, and yet somehow, the moment you see it, the name feels like the most understated thing about it.

Designed by Hanoi-based architecture practice Inrestudio, this multi-generational home is wrapped in a terracotta-toned, double-layered exterior punctured by irregularly placed, mismatched openings. The windows aren’t uniform. They don’t line up in neat rows or follow a rational grid. They appear across the facade like a scatter of thoughts, some large, some small, some square, some elongated, placed with an intention that reveals itself slowly the longer you look. It’s controlled disorder, the kind that only happens when someone has thought very carefully about where chaos is allowed to go.

Designer: Inrestudio

The project sits within one of Vietnam’s most distinctive and genuinely challenging housing typologies: the tube house. These long, narrow urban homes are a product of Hanoi’s history, born from a time when property taxes were levied on street frontage, pushing families to build deep and vertical rather than wide. The tube house is, by nature, a compromise. You work with what the city gives you. What Inrestudio does here is refuse to let that constraint become a ceiling.

The double-layered envelope is the key move. By wrapping the home in two skins instead of one, the architects create what they call “in-between spaces,” zones that exist between the inner living areas and the outer facade. These aren’t wasted margins or dead air. They’re transitional, purposeful areas where the house breathes, where light filters and shifts through the day, where the rigid boundary between inside and outside softens into something more generous. It’s the kind of spatial thinking that doesn’t photograph easily but completely transforms the experience of actually being in a building.

This matters especially because 100 Windows was designed for multiple generations living under one roof, a reality that remains far more common in Vietnam than it does in most Western countries. Designing for multi-generational life is genuinely hard. You’re negotiating different rhythms, different needs for privacy and togetherness, different relationships to noise, light, and air. Architecture that understands this doesn’t just divide a floor plan into labeled rooms. It creates conditions where people can be near each other without being on top of each other, where the house itself does some of the social negotiating.

The terracotta tones feel right for this, too. The palette connects the building to its climate, to the warmth and humidity of Hanoi, to the earth tones of traditional Vietnamese buildings without becoming a costume or a nostalgia piece. It reads as contemporary without trying to distance itself from its own context, which is a balance a lot of architecture gets wrong in either direction.

What you take away from 100 Windows isn’t really about the windows, or at least not literally. It’s about the idea that a constraint, whether it’s a narrow plot, a shared family life, or a hundred openings that need to somehow feel cohesive, can become the source of design rather than the obstacle to it. The windows are a by-product of a layered system, not a stylistic decision made in isolation. That’s what earns it attention beyond the aesthetic.

Architecture like this tends to get filed under “interesting regional work” and not looked at as broadly as it deserves. But the conversation 100 Windows is having about density, family, and what a facade actually owes its inhabitants is one that any city grappling with urban housing should be paying attention to. It’s not proposing a universal solution. It’s doing something more useful: showing what happens when designers take the specific conditions of a place seriously enough to build something genuinely shaped by them. The result is a house that looks singular because it is.

The post The Hanoi House With 100 Windows and No Two the Same first appeared on Yanko Design.

A Coin-Sized Disc Just Reinvented the Multi-Tool Nobody Could Fix

The multi-tool has been around long enough that most people have developed a frustrated relationship with it. You carry one because having a blade, a screwdriver, and a bottle opener in one place sounds practical, and then you grumble when you actually need something. Getting to the right tool means prying at a tightly packed frame with both hands, and that dynamic hasn’t changed much in decades.

GEO, designed by Invento Design, takes issue with that familiar frustration. Rather than folding tools out from a layered frame, it uses a patent-pending rotating disc mechanism that cycles through five tools, exposing each one through a single opening. It’s a deceptively simple reframing of an old idea, and one that makes you wonder why nobody had taken this approach before.

Designer: Francisco Molina (Founder of Invento Design)

Click Here to Buy Now: $45 $70 (36% off). Hurry, only a few left!

The way it works is fairly intuitive. Outer index levers let you rotate the internal mechanism until the tool you want lines up with the access window. A sliding lock then holds the selected tool in position before you start. The whole operation happens in one hand, without setting anything down first or needing a second hand to hold the frame steady.

The five tools cover a surprisingly practical range of everyday needs. You’d reach for the blade and scraper when a label refuses to peel cleanly, the box opener when a taped-up package isn’t cooperating, the bottle opener at the end of a long day, the flathead driver for a loose screw or a stubborn paint can lid, and the string cutter when scissors aren’t anywhere nearby.

Carrying something with a blade in your pocket raises the obvious question of what happens when it isn’t in use. GEO handles this with a dedicated safety mode, a neutral rotational position where no edges are exposed. The sliding lock serves a separate purpose, preventing the mechanism from turning mid-task. Together, they make it safe enough to pocket, clip to a belt, or drop into a bag.

The form factor makes carrying it a fairly easy decision. At 53.5mm in diameter and only 8.7mm deep, GEO lands somewhere between a large coin and a watch face. The integrated belt clip adds some depth but keeps the total thickness under 15mm. It fits in a jeans pocket, clips to a gear bag, or disappears into a drawer without demanding much space.

There’s something worth noting about how it actually feels to use, too. The rotation isn’t purely functional but also incredibly satisfying. Each position clicks into place with enough tactile feedback that you know exactly where you’ve landed, and the smooth lever action makes it oddly enjoyable to cycle through even when nothing needs doing. It tends to stay in your hand a bit longer than the task requires.

The construction does a good job of reinforcing the premise. GEO’s tool body is milled from 440C stainless steel hardened to 57–59 HRC, placing it in the same material territory as quality kitchen blades. Cover panels come CNC-machined from either 6061-T6 aluminum or Grade 5 titanium, with internal hardware in 304 stainless steel throughout, a quietly serious specification for something this compact.

GEO isn’t meant to replace the full-size tools sitting in workshop drawers or on a fully loaded belt. It’s better understood as something for the other moments: the stubborn tape, the loose screw, the cord that needs a clean cut. Its compact, circular form makes it easy enough to keep close that reaching for it becomes the natural first move rather than an afterthought.

Click Here to Buy Now: $45 $70 (36% off). Hurry, only a few left!

The post A Coin-Sized Disc Just Reinvented the Multi-Tool Nobody Could Fix first appeared on Yanko Design.

A 355-Square-Foot Tiny Home With Room to Actually Walk Around

Most tiny homes are upfront about their limitations. The Florence isn’t interested in that conversation. The Florence, by Alberta-based Teacup Tiny Homes, is the argument against all of that. Sitting on a triple-axle trailer, the Florence stretches 36 feet long and 8.5 feet wide, placing it at the roomier end of the towable tiny home spectrum. Its 355 square feet of interior space is arranged with the kind of logic you’d expect from a full-size home — not an afterthought. That discipline in planning is what separates it from the crowd.

Step inside and the first thing you notice is light. White tongue-and-groove paneling wraps the walls, 11-foot vaulted ceilings push the space upward, and generous windows pull the outdoors in. The living area anchors the layout, centered around a sofa and electric fireplace, with room for a television and a large built-in storage unit near the entrance. It doesn’t read like a compromise. It reads like a considered home.

Designer: Teacup Tiny Homes

Immediately adjacent is one of Florence’s more thoughtful touches — a dining nook that doubles as a home office, complete with an extending desk and integrated storage. For remote workers or anyone who needs a dedicated workspace without sacrificing a room, this dual-function zone is quietly brilliant. The kitchen runs along the galley wall nearby, equipped with a four-burner propane stove, oven, microwave, fridge/freezer, a large sink, and storage that actually holds things.

The master bedroom is located on the main floor, which is rarer than it should be in the tiny home world. Positioned next to the living area, it fits a double bed with genuine walking clearance on both sides and enough built-in storage to feel like a real room. A secondary sleeping loft sits above the kitchen and bathroom, accessed by a removable wooden ladder, offering space for a second double bed. The bathroom, tucked between the kitchen and bedroom, features a glass-enclosed shower, flushing toilet, and vanity sink.

Teacup Tiny Homes, a 100% female-owned and operated company founded in 2016, offers the Florence with a range of customization options — a soaking tub in place of the shower, choice of materials and furnishings, and permanent foundation installation if mobility isn’t the priority. Delivery runs across both the US and Canada. The Florence starts at roughly US $122,000. For a home this size, it’s a number that’s easier to justify than it might first appear.

The post A 355-Square-Foot Tiny Home With Room to Actually Walk Around first appeared on Yanko Design.

Nothing killed the Glyph Interface. This Teenage Engineering synth concept argues that was a mistake

Nothing spent three phone generations convincing us that a few light strips on the back of a device counted as a personality. The Glyph Interface was the whole brand in one gesture, a Morse code of notifications you could read with the phone face-down on a bar table. Then Phone (3) arrived in July 2025 with the Glyph Matrix instead, a small dot matrix circle tucked in the corner, and the comment sections held a funeral. “NO GLYPH” became the shortest and angriest review of the year. Which makes it pretty funny that the most convincing argument for reviving that light language has come from a fan concept for a synthesizer.

Abdelrahman Shaapan’s Mini OP-3 wraps a semi-transparent rear panel around a compact synth, with LED effects and dynamic graphics that pulse along to whatever you’re playing. Flip it over and the front is pure Teenage Engineering, a clamshell with a touchscreen lid and a control deck of encoders, transport keys, numbered pattern buttons, and one red COPY key doing a lot of emotional labor. Shaapan calls the project an exercise in translating the design DNA of both brands into a single object. He also added a charm attachment point on the screen corner, because it is 2026 and everything needs a little guy hanging off it. The pitch is a smaller OP that keeps you off your laptop during production and live sets.

Designer: Abdelrahman Shaapan

Ten function keys run across the top of the deck, covering waveform and tape banks, sync, split, copy, paste, metronome, scissors, monitoring, and loop. Below them sit eight encoders arranged in a greyscale gradient from black to white, which is the single most OP-1 gesture available to any designer working in this language. A transport row follows with record, play, and numbered pattern keys, then a modifier row carrying shift, divide, ramp, and a random button. The hinge hides a perforated speaker band, and the front edge packs two USB-C ports beside four 3.5mm jacks. Every control is round, tactile, and spaced like it expects to be hit fast in a dark room.

Nothing built its identity on light as an interface, then retired it on the Phone (3) in favour of a dot matrix that most owners still describe as a downgrade. Shaapan’s rear panel puts that language back to work, running LED effects and dynamic graphics that respond to your audio in real time. On a phone, reactive lighting was always slightly decorative, a party trick for incoming calls and little else. On an instrument, it has an actual job, giving you a visual read on your track from across a stage or a crowded studio. Relocating the Glyph to the one product category where it earns its keep is a sharper piece of brand analysis than most fan concepts manage.

Shaapan rendered the whole thing in KeyShot. The soft-touch black body, the subtle sheen on the encoder caps, and that partially translucent rear panel with internals showing through all read as convincingly manufacturable rather than aspirational. The charm attachment point is the detail I keep coming back to, since TE has always sold straps and cases as identity objects and phone charms are having a genuine cultural moment. We covered a Teenage Engineering DJ console concept a couple of years back, and this one clears that bar comfortably. The presentation is good enough to be mistaken for a leak.

One thing undercuts the pitch. Shaapan says the goal was minimizing laptop dependence, but three renders show Ableton Live running on the touchscreen, which means the device became a laptop instead of replacing one. Ableton’s own Push 3 already solves the standalone problem and charges around two thousand dollars for it. That gap between the stated intent and the renders is the part a real product team would have to close first. Everything else here, though, is a better Nothing product than Nothing’s last one.

The post Nothing killed the Glyph Interface. This Teenage Engineering synth concept argues that was a mistake first appeared on Yanko Design.

Michelangelo’s iconic David bust gets recreated in LEGO, turning plastic into sculpted marble

If you ever took a drawing class, you have met this face. Art schools spent about two centuries buying plaster casts of David’s head and parking them on shelves so students could sit there for six hours learning to render a nostril. The Victoria and Albert Museum owns a full size cast of the whole statue, and famously kept a plaster fig leaf on standby in case Queen Victoria dropped by and needed the shock absorbed. So David has been getting copied, shrunk, cast, and occasionally censored for a very long time. Turning him into a toy is not the sacrilege it sounds like. It’s basically the family business.

Which brings us to Ysien, a LEGO Ideas builder who decided the next material in that lineage should be ABS plastic. The build renders David’s head, neck, shoulders and upper chest as a classical bust, entirely in white, sitting on a proper stepped pedestal. No color, no minifigure, no cheeky accessories. Just light and shadow doing all the work, exactly like the plaster casts it descends from.

Designer: Ysien

The hair is the whole reason this MOC (My Own Creation) works. Hair is where sculptors get found out, because faces have anatomy underneath that you can reason your way through, while hair is a mass of overlapping nothing that somehow has to read as soft. Michelangelo’s answer was a tangle of deep drilled curls. Ysien’s answer is a genuinely absurd stack of curved slopes and half arch elements layered at varying depths, so each curl throws its own little shadow instead of flattening into texture. “The hair was one of the greatest challenges, with each curl contributing to the overall silhouette, depth, rhythm, and movement,” he says, which is a very polite way of describing what must have been several evenings of quiet suffering.

My favorite decision, though, is that the seams stay visible. Ysien could have chased a smooth marble finish and lost, because bricks do not do smooth. Instead he let the geometry become part of the sculpture, so the thing reads as a portrait from across the room and as unmistakable LEGO up close. The eyes get a similar treatment, built from inverted round elements that give David that vacant classical stare, which is a nice accident given the real statue has heart shaped pupils drilled into it. Monochrome white does the rest, forcing every bit of the anatomy to be described by shadow alone. There’s no piece count listed yet, although I wouldn’t be surprised if it was in the high hundreds.

Ysien’s David is currently sitting at just over 400 supporters with 424 days on the clock, which means there is a long road to the 10,000 votes that trigger an official LEGO review. LEGO Ideas is where fan builds get their shot at becoming retail sets, and this one deserves a look. The only thing I’d add is a black variant, because a basalt David would be an absolute menace on a shelf. You can head to the LEGO Ideas page and cast your vote!

The post Michelangelo’s iconic David bust gets recreated in LEGO, turning plastic into sculpted marble first appeared on Yanko Design.

The Echo Chair Makes 3D Printing Feel Refined

ZHA has collaborated with Spanish design brand Nagami to create the Echo Chair, a 3D-printed seat made from recycled plastic waste. Formerly known as Zaha Hadid Architects, the studio developed the chair through parametric design and large-scale additive manufacturing. Its form is fluid and sculptural, with an arched backrest that extends towards the floor and a seat that curves upwards at the sides.

The two parts look separate at first, but they are printed as one continuous piece. Both surfaces grow from the same structural edge and share the same underlying geometry. One becomes the seat, while the other rises to form the backrest and support.

Designer: ZHA and Nagami

This continuous construction gives the chair a clear sense of logic. The shape is doing several jobs at once: supporting the body, holding the structure together, and defining the overall visual character.

The Echo Chair was developed through an iterative research process at ZHA Lab and manufactured by Nagami, a brand known for its work in large-format 3D printing. The studios used recycled PETG sourced from industrial waste, including single-use medical plastics.

As the chair is printed layer by layer, the process leaves a ribbed texture across its surface. Those lines have been kept visible rather than hidden or polished away. That decision gives the chair much of its character. The texture follows the curves closely and makes the manufacturing process easy to read. It also gives the recycled plastic a more tactile, less generic appearance.

There is something useful in that honesty. The material is not being forced to look like timber, stone or metal. It keeps the visual qualities created by the printing process and uses them as part of the design. The surface does still reference natural materials in a subtle way. Its layered finish recalls mineral formations and carved stone, which helps the chair feel less industrial when placed in an interior.

ZHA and Nagami developed four colourways for the chair: white, black, a white-to-translucent gradient and a caramel tone made using a bio-based cork composite. The colour choices help shift the mood of the design. White makes the form feel lighter and more architectural, while black gives it a stronger, more graphic presence. The translucent version draws attention to the printing layers, and the caramel finish adds warmth to what could otherwise feel like a very technical object.

The caramel version is especially successful because it softens the synthetic quality of the plastic. It feels easier to imagine in a home, hotel lobby or lounge space, rather than only in a gallery or design exhibition. According to ZHA project design director Sebastian Andia, the goal was to turn an abundant and overlooked material into something people would genuinely want to live with. That idea matters because recycled material alone is rarely enough to make a product successful. People still need to like the object, find it comfortable and see a place for it in their environment.

The Echo Chair handles this well. Its sustainable story supports the design, rather than becoming the whole design. The seat’s raised sides create a more enclosed sitting position, while the curved backrest gives the chair a supportive and almost cocooned feel. The shape is expressive, but it still looks usable. Its scale and neutral colour options also make it easier to place than the form might suggest. It has enough presence to work as a statement piece, yet it does not depend on bright colour or decoration to stand out.

The 3D-printing process allows the chair to be produced without visible joints or separate components. This gives it a seamless appearance and keeps the connection between the digital model and final object very direct.

That connection is one of the strongest parts of the project. The manufacturing process does not sit behind the design. It shapes the design. The ribs, curves and continuous structure all come from the same production method. Each part of the chair feels related because it has been developed through the same system.

The Echo Chair continues ZHA and Nagami’s existing collaboration. Nagami launched its first collection of 3D-printed chairs in 2018, which included two designs by the architecture studio. Their latest project shows how much more refined large-scale 3D printing has become. The chair feels less like a technical experiment and more like a finished product with a clear place in contemporary interiors.

The Echo Chair is currently on display as part of London Creates at The Truman Brewery. What makes the chair interesting is the way it brings together material, form and manufacturing without overcomplicating the idea. Recycled plastic is treated as a starting point for the design, rather than something that needs to be disguised.

The post The Echo Chair Makes 3D Printing Feel Refined first appeared on Yanko Design.

Ross Lovegrove’s Hi-Fi Speakers Look Like River Pebbles, Stream 384 kHz Audio

Ross Lovegrove has spent his whole career convinced that nature already nailed industrial design and humans are just slow to catch up. His portfolio backs it up fast. The Ty Nant water bottle looks like a puddle caught mid freeze. The DNA Staircase he built for the Belgian Pavilion at Shanghai Expo 2010 spirals like an actual double helix. His Go Chair for Bernhardt Design curves like it was grown in a lab rather than welded together in a factory. Give the guy a chair, a bottle, a staircase, anything, and he finds the organic shape hiding inside it. Speakers are trickier though, since somewhere inside all that flowing curvature you still need drivers, amplifiers, and wiring that behaves itself.

KEF’s new LS LUXE is Lovegrove’s answer, and it is a genuinely convincing one. Picture two smooth pebbles sitting on your shelf, the kind you would find polished at the bottom of a river, except one of them has a gold driver staring back at you like a tiny mechanical flower. The cabinet skips every straight edge in favor of that rounded, water worn shape, finished in shades like Mineral White and Eclipse Black. Spec wise, you get 380 watts of amplification and network streaming up to 384 kHz, all packed into a form that reads more like sculpture than stereo gear. It launched in Asia Pacific at 4,910 US dollars a pair, with US availability and pricing still to come.

Designer: Ross Lovegrove for KEF

Inside that pebble shaped shell sits KEF’s 12th generation Uni-Q driver array, a 165 mm aluminium cone wrapped around a 25 mm dome tweeter that fires from the exact same point in space. That single point origin is why Uni-Q speakers spread sound evenly instead of beaming it at whoever grabbed the best seat. Behind the driver, KEF’s Metamaterial Absorption Technology claims to soak up 99 percent of unwanted rear sound, the same maze like structure found in flagship lines like the Blade. Two amplifiers split the work, 280 watts for the lows and mids, 100 watts for the highs. That is serious firepower for something the size of a grapefruit.

The rear ripples with vertical ribbing like sand under shallow water, broken only by an oval bass port and a connections panel etched with Lovegrove’s own signature. That same engineering ambition carries over to VECO, KEF’s new Velocity Control Technology, debuting here in a wireless speaker for the first time. VECO uses motion sensing feedback to catch distortion and power compression before they turn audible, letting the speaker correct itself in real time rather than waiting for you to notice something is off. Network streaming tops out at 384 kHz, with AirPlay, Chromecast, Bluetooth, and Tidal, Qobuz, and Spotify Connect built in. Roon support is coming too, just not until 2027.

Dusk Titanium, Eclipse Black, and Mineral White are the three finishes on offer, and KEF ties each one back to cymatics, the way sound visibly ripples across a surface, which is a bit much on paper but looks genuinely premium in person. A pair runs 6,299 Singapore dollars, about 4,910 US dollars, with the launch limited to Asia Pacific for now. The US page is live for early access through myKEF membership, though American pricing has not landed yet. Twenty kilos a pair also means double checking that shelf before committing. KEF is betting people will pay a premium for a speaker that looks like it belongs in a gallery instead of a media console.

KEF tried this design forward approach before with the LS50 Wireless II, and the LS LUXE feels like that idea with the leash finally taken off. Where the LS50 stayed rounded but fairly conventional, Lovegrove pushed KEF into a shape that competes with furniture for shelf space instead of hiding next to it. The real test is whether that sculptural ambition holds up once these sit in an actual living room instead of a studio render, since renders always flatter reality. At 4,910 dollars a pair, this is priced for people who already care about hi-fi and design in equal measure, not newcomers to either. Lovegrove has spent a career getting objects into museums. Whether the LS LUXE joins them or just earns a very nice shelf, KEF has made sure nobody mistakes it for furniture nobody asked for.

The post Ross Lovegrove’s Hi-Fi Speakers Look Like River Pebbles, Stream 384 kHz Audio first appeared on Yanko Design.

Vollebak Made a $3,995 Jacket for the End of the World

Vollebak has never been the kind of brand that plays it safe. Since launching in 2016, the British label has built a reputation for making gear that reads more like science fiction than seasonal fashion. Their products come with essays instead of product descriptions, and their material choices lean toward graphene, solar-charged fibres, and military-grade composites. So when their latest release landed with an acronym for a name and a price tag that could cover a month’s rent in most cities, most of us weren’t entirely surprised. Just a little stunned.

FWAHBL stands for “For When All Hell Breaks Loose.” That’s the actual name. Not a placeholder, not a working title, not a wink-and-nod provocation. The brand looked at the current state of the world and decided the most honest thing they could do was name a jacket after it.

Designer: Vollebak

Only 10 of these exist. They’re priced at $3,995. They arrive in retro video game packaging alongside a comic book and a trailer for an upcoming game. The whole thing reads like a fever dream, and yet, once you look at what’s actually inside it, the jacket starts making a strange kind of sense.

The material comes from Fothergill, a British manufacturer that has been producing protective gear for the military since 1847. The fabric is double-faced polychloroprene rubber coated over a woven polyester core, built to resist oils, chemicals, flame, and extreme weather. This isn’t performance wear with a dramatic name slapped on it. The engineering is real, even if Vollebak is quick to clarify that it isn’t certified safety equipment. What it is, they say, is clothing designed for extreme weather and existential dread. I appreciate the specificity.

A jacket that could theoretically withstand a chemical spill but comes dressed for a gallery opening is a very particular kind of product. The hazard yellow finish makes it look like something you’d find on a nuclear site inspector who also happens to have excellent taste. It’s alarming and considered at the same time, which feels very intentional. Vollebak’s whole design language leans into that tension, the idea that what we wear should be able to meet us at our worst, not just our most polished.

The narrative wrapped around the jacket is what separates it from a typical limited-edition fashion drop. Vollebak didn’t just make a jacket and photograph it on a rooftop. They built a universe: the comic book, the video game, the worldbuilding. The jacket becomes almost secondary to the story it’s trying to tell, which is either a genius move or a complete overreach, depending on how you feel about brands constructing mythology around outerwear. Personally, I find it more compelling than a seasonal lookbook ever manages to be. At least it commits to a point of view.

The collectible angle is also hard to ignore. Ten pieces worldwide isn’t a production run. It’s closer to an art edition, which raises the question of who actually buys this. Probably not someone planning to commute in it. Most likely it’s the kind of person who understands that certain objects carry cultural weight beyond their function, the same kind of person who collects a Helmut Lang archive piece or a first-edition sneaker that never touches the ground. Whether we call that fashion, collecting, or very expensive storytelling, the outcome is the same.

Objects that sit at the intersection of design, utility, and narrative have always existed, from limited-run furniture to bespoke motorcycles to museum-acquired concept cars. The FWAHBL Jacket fits that lineage more comfortably than it fits any fashion calendar.

Whether or not you’d wear it, or could, the jacket asks a useful question. How much are we expecting from the things we put on our bodies? Vollebak’s answer has always been: more. More protection, more engineering, more intention. The FWAHBL Jacket takes that philosophy to its logical, slightly unhinged conclusion. A trench coat for the end of things, made by people who clearly hope you never actually need it.

The post Vollebak Made a $3,995 Jacket for the End of the World first appeared on Yanko Design.

First Chinese SUV with built-in rooftop tent is co-developed by Huawei and is all set for preorder

Chinese automotive and technology stalwarts are combining to give the off-road camping industry a new twist. It’s for the first time that a flagship SUV is gearing up to hit the Chinese market with a rooftop tent pre-installed. The tent would deploy into a fully-fledged habitat on top of the off-road vehicle at the push of a button from its cockpit.

So, when the Stelato G9, built in a joint effort by Huawei and Beijing Automotive Group (BAIC Group), goes on preorder starting August 5, according to Chinese sources, the luxury SUV will include an optional tent built into its roof and sunroof assembly. This would be completely different from aftermarket rooftop tents that have to be bolted on the roof of the vehicle.

Designer: HIMA

Rooftop tents are common in North America. So, they are in China as well. But this is the first time that a vehicle is entering the market pre-fitted with a rooftop tent from the factory. At the time of writing, not much is available in the public domain about the Stelato G9, except for the fact that it will come with the optional choice of a camping solution on its roof.

Other than that, from information collected through Chinese regulatory filings, we can confirm that the vehicle will be available in a fully electric option and an extended-range electric model comprising a gas engine to generate charge for the battery. The G9 measures 5.2 m (17 ft) long and has a wheelbase of 3.16 m (10.4 ft). Its interior will come in either a 5- or 6-seater layout and would be certified to tow 2,000 kg. For its off-road capability, the vehicle will offer a wading depth of 900 mm. It will feature a side-opening tailgate, an external storage box, roof rack, and tow hook.

Stelato, according to the information shared on the Chinese microblogging site Weibo, will begin accepting preorders for the G9 starting at 2:30 pm Beijing Time on August 5. The SUV – with an optional rooftop camping tent – is expected to officially launch in the third quarter of 2026. Stelato G9, in addition to being the first with an integrated push-button rooftop tent, is also the brand’s first foray into the rugged off-road segment.

Stelato, an electric vehicle brand, operates under Harmony Intelligent Mobility Alliance (HIMA), a collaboration between BAIC and Huawei. The latter provides a HarmonyOS-assisted autonomous driving system and LiDAR tech to manage the technology within the vehicle. The tent, which is also activated through the Huawei system onboard, is part of the sunroof assembly. When it’s not in use, the tent appears sitting flush against the roofline of the G9.

When the tent is deployed, the roof lifts from one side and extends into a two-part tent. The main triangular portion has a low front and tall back. A built-in lighting pole separates it from the smaller auxiliary tent that extends from the other side of the main structure. Reportedly, the roof tent also unlocks a side awning. It is also deployed using the same single button press as the tent itself. We do not have the exact pricing details at the moment, but reports suggest the Stelato G9 could start somewhere around $74,000. It is currently planned for the Chinese market only.

The post First Chinese SUV with built-in rooftop tent is co-developed by Huawei and is all set for preorder first appeared on Yanko Design.