When we think of an eBike, the form is usually large and clunky with motors whirring to propel us forward when needed – not so with the EIDOLON by Ponomarets. Everything obtrusive and unneeded has been stripped away, leaving a super sleek machine that truly does look and feel like its traditional counterparts in the luxury industry. Elegant German engineering meets material technology innovations in this 9.9 kg (just under 22 lbs) bike, weighing in right around the same, if not a touch beyond comparable traditional bikes. A cut above, the EIDOLON is tough to beat in terms of style, performance, and precision.

A carbon fiber frame sets the stage for one of the lightest eBikes on the market. Handcrafted in partnership with All Ahead Composites in Veitshöchheim, Germany, the EIDOLON thoughtfully combines cutting edge components with human artistry. Inspired by classic racing bikes, the form is fluid and fast, showing movement even when stationary. A collaboration with VoyagerCo in Belgium takes this form to the next level, the thoughtful refinement of components and a certain discreet elegance maintaining intrigue and timelessness.

For the braking system, Ponomarets worked with Swiss brand 612 Parts and Voyager to create a lightweight yet powerful addition to the EIDOLON. From handling capabilities to overall responsiveness, these brakes are crafted to the highest standards of quality. Exclusively designed for Ponomarets, this brake system features an advanced flatmount design, two-piston functionality, and is equipped with Trickstuff pads and Goodridge hoses. A top consideration is the option of having mechanical shifting or electronic shifting. The electronic shifting option outfits your bike with SRAM RED, top of the line components used by pro racers. The surprising simplicity of SRAM wireless electronic shifting is second to none, and keeps a tidy appearance since it does not require shift cables.

Elegance and technical aesthetics are just the beginning with the EIDOLON. In a nod to traditional bike designs of the past, the wiring sits on the outside of the frame, completely serviceable and more importantly, creates the perfect conditions to reduce weight and improve performance. Staying true to their philosophy of honoring the past by retaining the specific choices that have delighted cyclists for decades, all while looking toward the future in terms of material choice and precision machining, the EIDOLON sets a new standard for eBike design going into the future.

Ponomarets takes their design philosophy from precision timepieces and luxury cars, embodying the sleek, aerodynamic design choices preferred by these storied industries. Thoughtful, meticulous, and stylish, the brand looks to history in concept, and toward the future in execution.

To learn more about the EIDOLON eBike by Ponomarets, please visit ponomarets.com.

Imagery courtesy of Ponomarets.

Fujifilm’s latest release, the X half, blends analog nostalgia with modern convenience, offering a compact, stylish, and highly tactile camera experience built for today’s casual shooters and content creators. Inspired by vintage half-frame film cameras, the X half brings back the fun of analog photography while leveraging digital technology to streamline creativity on the go.

While unmistakably part of Fujifilm’s X-series family – with its retro body, dial-based controls, and film camera sensibility – the X half distinguishes itself by shrinking things down. Weighing in at just 8.5 ounces (240g), it’s lightweight and portable enough to carry anywhere, making it ideal for spontaneous shooting sessions, travel adventures, or day-to-day life documentation.

It comes in three colors – Silver, Charcoal Silver, and Black – each with a refined, minimalist finish that adds to the timeless aesthetic. True to its analog inspiration, the camera uses an aperture ring, frame advance lever, and dual rear screens – one for photo settings and the other dedicated to film simulation previews.

One of the most distinctive aspects of the X half is its portrait-oriented sensor, offering a 3:4 aspect ratio tailored to how we naturally shoot and consume content on smartphones today. The 18MP 1-inch back-illuminated sensor is paired with a fixed 10.8mm f/2.8 lens (equivalent to 32mm), providing a versatile field of view for street shots, everyday moments, or even casual portraits.

The X half doesn’t shoot RAW files – instead, it delivers JPEG-only outputs, reinforcing its role as a “what-you-see-is-what-you-get” creative tool. The emphasis is on immediate results, analog textures, and visual experimentation rather than post-processing flexibility.

At the heart of the X half experience are 13 classic Fujifilm film simulations, including Provia, Velvia, and Classic Chrome, plus three new filters that enhance its retro vibe: Light Leak mimics accidental overexposure for a dreamy, unpredictable look; Halation adds a soft glow around light sources; and Expired Film introduces grain and color shift for a nostalgic, imperfect finish.

These options are complemented by eight Instax-style filters, adding a playful, instant-photo aesthetic. There’s also a Grain Effect and a new Date Stamp feature, letting users imprint time and place just like on a roll of film from the ’90s.

Also notable is the 2-in-1 mode, which lets users capture diptychs or photo-video combos using the physical Frame Advance Lever. After taking one shot, wind the lever to capture the second, which gets paired with the first to create a single composite image. This can also be done retroactively through the dedicated X half app, where you can tweak dividing lines, swap sides, and share or print directly from your phone.

The camera’s dedicated smartphone app supports gallery browsing, editing, diptych creation, and direct printing to compatible FUJIFILM Instax Link printers. Whether you want to post directly to Instagram or make a tangible print, the app is built to bridge digital capture with instant sharing or analog output.

For users chasing the tactile magic of film, the Film Camera Mode digitizes the experience of a disposable camera. Select a simulation and choose a roll size – 36, 54, or 72 shots – and you won’t be able to review your images until the roll is “finished.” You even have to manually advance the lever after each photo, echoing the satisfying click of old-school wind-up cameras.

With up to 880 shots per charge, tactile manual controls, and built-in features designed to help users express themselves with minimal editing, the Fujifilm X half targets a generation that craves creative tools – but also wants to disconnect from their phones.

The Fujifilm X half comes in at $849.99, and is available via fujifilm-x.com.

Photography courtesy of Fujifilm.

In the heart of the Copenhagen Harbour, a two-story modern houseboat now floats serenely between the opera house and the revitalized Paper Island. This architectural feat belongs to Danish designer and craftsman Søren Hvalsøe Garde, founder of the esteemed design company Garde Hvalsøe. Merging innovative living with timeless craftsmanship, the 1,507-square-foot home represents a personal and professional milestone for Garde, who spent nearly two years perfecting the project.

The journey began when Garde was inspired by his son’s move to a floating community in Refshaleøen, known for its eco-conscious design and affordable student housing fashioned from shipping containers. That experience sparked a deeper curiosity in the potential of water-based living. Garde, a lifelong maker and designer, saw an opportunity to construct something that fused his love for functional beauty with his fascination for alternative living spaces.

Finding the perfect spot proved to be the most elusive part of the plan. With the city’s harbor space in high demand, it took months of persistence before Garde secured an ideal location with scenic views and architectural prestige. From there, the vision took shape in collaboration with architect Anders Halsteen, resulting in a houseboat that blurs the line between residence and design object.

Built in Poland and floated to its permanent site in Copenhagen, the structure features expansive glass walls that invite the harbor in, while carefully placed terraces offer outdoor sanctuaries above the waterline. The exterior is sheathed in dark wood cladding reminiscent of Garde Hvalsøe’s signature wardrobes, ensuring both privacy and harmony with the urban landscape.

Inside, the space is a showcase of bespoke details and high-end materials. The kitchen, a focal point for Garde and his wife Rita, features handcrafted Garde Hvalsøe cabinetry, a dramatic stone countertop, and open displays of culinary tools that speak to the couple’s passion for cooking. Vintage furniture by Bruno Mathsson and Hans Wegner anchor the dining area in Scandinavian heritage, while contemporary lighting and minimalist design add a refined edge.

“I love the process of creating something new, and by building from scratch, you get everything exactly as you want,” says Søren, who took the same approach to this project as he does his cabinetry company.

Materials throughout the houseboat reflect both luxury and longevity. From brass bathroom fixtures that will develop a natural patina over time to fine oak flooring by Dinesen and concrete surfaces, the palette is restrained but richly tactile. Even the shower, tiled in soft neutral tones, exudes a quiet elegance.

Despite downsizing from a larger home, the couple prioritized shared spaces over private rooms. The layout maximizes openness and flow, with communal areas taking center stage. A sheltered deck garden, perfect for summer dinners, completes the setting – a space designed for living slowly and savoring the water views.

A highlight feature is the custom-designed wine cellar, lined in oak and temperature-controlled via a system that draws on the surrounding seawater. This blend of form and function exemplifies the meticulous planning behind every detail of the home.

Reflecting on the arrival of his floating home, Garde recalls the emotional weight of seeing it towed into place on a calm summer evening. Since then, life on the water has offered a renewed sense of serenity. The gentle motion of the home and the ever-changing light over the harbor have become part of daily life – an embodiment of Garde’s belief that thoughtful design can elevate the everyday.

For more information on Garde Hvalsøe, visit gardehvalsoe.dk.

Photography by Birgitta Wolfgang Bjørnvad.

Filmmaker Wes Anderson has had a prolific career, championing his signature sepia-tinted, dolly-heavy style, immediately recognizable from the first couple seconds of any new project. With thirteen feature films and a numerous amount of shorts, commercials, and music videos, as well as a couple acting roles throughout the years, Anderson has been busy. London’s Design Museum proudly presents in collaboration with la Cinémathèque française, the Wes Anderson: The Archives, an intimate look at some of the papers and props from some of our favorite films, shedding light on the process and the man behind the lens.

Grand Budapest Hotel model \\\ Photo: Thierry Stefanopoulos, courtesy of La Cinémathèque Française

A magnificent model of the Grand Budapest Hotel, an Anderson film from 2014, stands proudly at the beginning of the exhibition. “I’ve always loved miniatures in general,” Mr. Anderson has said, “I just like the charm of them.” Detailed, intricate, and preposterously pink, the model was originally constructed for wide shots of the hotel, backgrounds inspired by the dreamy skies of painter Caspar David Friedrich. At an aptly grand 14 feet long and 7 feet deep, the model is a mix of classical hotels, and European vacation spots of the era.

Wes Anderson \\\ Photo: Charlie Gray \\\ Copyright: Searchlight Pictures

Miniature washing machines, ISLE OF DOGS \\\ Photo: Richard Round-Turner © the Design Museum

Tracy’s puppet (detail), Arch Model Studio, ISLE OF DOGS \\\ Photo: Richard Round-Turner © the Design Museum

Sam Shakuski’s Scout Kit, MOONRISE KINGDOM \\\ Photo: Richard Round-Turner © the Design Museum

Vending machines, Atelier Simon Weisse, ASTEROID CITY \\\ Photo: Richard Round-Turner © the Design Museum

Vintage American nostalgia is so much of what Anderson does best, recalling times of blinding sun, dull sadness, frosty Coke in a glass bottle, or a mixture of the three. Coloring is incredibly important in his films, each one cast in an orange-yellow hue, signifying ages gone by. His dedication to the craft highly apparent, he nurtures his love of miniatures through stop-motion animation, a dying art that most of Hollywood would find too expensive to produce. Instead, Anderson doubles down, creating multiple feature length stop-motion films, animators imbuing a distinctive human touch that cannot be replicated under any other means.

“François Voltaire” suitcases of the Whitman brothers \\\ Marc Jacobs for Louis Vuitton \\\ “wildlife” print designed by Eric Chase

Miniature motorcycle of Mr. Fox, Arch Model Studio, FANTASTIC MR. FOX \\\ Photo: Richard Round-Turner © the Design Museum

As a Fantastic Mr. Fox fan, I was delighted to see Mr. Fox’s motorcycle and the Rat among the pieces shown at the Design Museum. The type of animation style, from the clever ruffling of fur to mimic how hair actually moves, to the Rat’s impeccably tiny nametag (Bean Security), speaks to the level of detail that is not only required for this type of work, but that makes Anderson’s films so captivating. Every facet of the viewer’s experience has been fully curated, guiding us through the film without any thought to the mechanics, fully immersed. Hard work goes into making it look so easy.

Rat puppet, Arch Model Studio, FANTASTIC MR. FOX \\\ Photo: Richard Round-Turner © the Design Museum

Miniature model and sign of the train, THE DARJEELING LIMITED, and blackboard depicting the Solar System, ASTEROID CITY \\\ Photo: Richard Round-Turner © the Design Museum

Miniature model of a train, THE DARJEELING LIMITED \\\ Photo: Richard Round-Turner © the Design Museum

Wes Anderson’s personal notebooks from THE ROYAL TENENBAUMS \\\ Photo: Roger Do Minh © Wes Anderson

Richie Tenenbaum poster, THE ROYAL TENENBAUMS \\\ Photo: Richard Round-Turner © the Design Museum

Max Fischer’s RUSHMORE Swiss Army knife \\\ Photo: Roger Do Minh © the Design Museum

Founded in 1989 by Sir Terence Conran and since relocating in 2016, the Design Museum is the UK’s premier center for the design community, education and the public can come together to understand how impacts of intentionality can change our individual lives, and eventually our world. The Design Museum has welcomed millions of visitors from across the globe, continuing to platform transformational design, allowing us to envision a brighter future.

THE FRENCH DISPATCH magazine \\\ Photo: Roger Do Minh © the Design Museum

Wes Anderson was born in Houston, Texas, and made silent films on his father’s Super 8 camera when he was young. This would develop into an expansive filmmaking and writing career, directing Bottle Rocket and truly stepping into the limelight with Rushmore in 1998. The Royal Tenenbaums, Moonrise Kingdom, and Isle of Dogs have all garnered critical acclaim and some even a cult-like following, revered for their eccentricity and broad sense of personality. Fast-paced, serious, yet playful, his films blend multiple genres in a way that creates a style of their own.

Wes Anderson with the model of the Grand Budapest Hotel \\\ Photo: Thierry Stefanopoulos, courtesy of La Cinémathèque Française

To learn more about the Design Museum’s exhibition of Wes Anderson: The Archives, which will be on view from November 21, 2025 through July 26, 2026, please visit designmuseum.org.