From Kvadrat’s Repair Patches to Vitra Circle and Artek 2nd Cycle, design is rediscovering the value of longevity and asking what happens to objects after they are purchased
For a long time, design focused primarily on the creation of objects. Today, the debate is increasingly shifting towards what happens next: maintenance, repair, upgrading, reuse and second life. In a sector driven by new collections, new materials and a constant stream of launches, the question is no longer simply “what’s new?”, but also “what is worth preserving?”. This is not only a matter of sustainability. It concerns the way we assign value to objects and the kind of relationship we choose to build with them. This shift in perspective does not, however, mean replacing the cult of novelty with a new rhetoric of longevity. Words such as timeless, crafted, repairable and slow can easily become marketing formulas in their own right, often aimed at those who can already afford to buy less and choose more carefully. Repair culture acquires real meaning when the possibility of maintaining, upgrading and repairing an object is not a privilege or an optional service, but a quality considered from the very beginning of the design process.
According to the Ellen MacArthur Foundation, 80% of a product’s environmental impact is influenced by decisions made during the design phase. This responsibility becomes even more significant in light of the 2030 climate targets and the difficulty of reducing emissions at the pace required over the coming years. In this context, the question is no longer only how to design better, but also how to make designed products last longer. The European regulatory framework is moving in the same direction: the Right to Repair Directive and the new Ecodesign Regulation are creating the conditions for products that are more durable, repairable and circular.
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Design Preowned
It is therefore not surprising that repair culture is becoming increasingly prominent in the international debate. In a recent article published by Dezeen, journalist Katie Treggiden described it as one of the most urgent challenges facing contemporary design. It is not simply a matter of fixing a broken object, but of rethinking the relationship between design, consumption and longevity. Some of the clearest recent signs of this shift come from initiatives that place repair at the heart of the design process. These include Kvadrat’s Repair Patches, a series of textile patches designed to address tears, stains and signs of wear on upholstery. Damage is not necessarily concealed: it can become another visible layer in the object’s history. Anglepoise, the long-established British lighting manufacturer, offers repair and rewiring services for some of its historic lamps, alongside a lifetime guarantee for eligible products. This model extends the relationship between the company and the object far beyond the moment of purchase. Design Preowned, a platform founded in 2024 by Edward Gubi, also forms part of this discussion. Rather than simply offering vintage furniture, the project is built around the recovery, restoration and recirculation of existing pieces, assigning new value to what has already been produced.
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Artek 2nd Cycle
While these projects are among the most recent signs of an emerging awareness, other organisations have been working in the same direction for some time. Artek 2nd Cycle, dedicated to selecting and recirculating used Artek and Aalto furniture, has made the sale of pre-loved pieces a recognisable part of the brand’s identity. Similarly, Vitra Circle has developed a programme dedicated to recovering, refurbishing and returning used furniture to the market, helping to extend its useful life. Rather than isolated initiatives, these examples now appear to be signs of a broader cultural shift. The same applies to modular systems such as USM, which demonstrated, long before repair culture became a widely discussed concept, how a product could be expanded, reconfigured and adapted over time rather than replaced.
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Tree-Trunk Bench
In this context, however, repair is only one part of the story. For years, studios such as Formafantasma have encouraged us to look beyond the finished object and examine supply chains, resources and the life cycles of materials. Ore Streams investigated the global system of electronic waste, while Cambio explored the dynamics of timber extraction, production and distribution. Earlier research had already challenged the idea that innovation necessarily means producing something new. In the 1998 Tree-Trunk Bench, Jurgen Bey transformed a fallen tree trunk into seating by simply adding bronze backrests, making reuse a visible part of the design. Alongside initiatives promoting repair, refurbishment and second life, design practices are also emerging that treat recovered objects and materials as part of the creative process.
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Sudden Object
The Sudden Object collective works with damaged objects and discarded fragments, recomposing them into new configurations. Rather than correcting a defect, its work assigns value to what would normally be discarded: wear, accidents and imperfections become part of the design process. It may still be too early to speak of a true paradigm shift. Yet it is difficult to ignore the fact that terms such as repair, maintenance, restoration, refurbishment and second life are far more present in the debate today than they were only a few years ago. Perhaps true innovation no longer lies in producing yet another new object, but in conceiving objects that can last, evolve and be repaired without losing their value.
Tag: Design Circolarità collectible Product Design
© Fuorisalone.it — All rights reserved. — Published on 02 July 2026
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