Chopsticks you can eat? The humble tool is reimagined every which way at Milan Design Week

Chopsticks that split only partway rather than breaking clean in two; chopsticks in the form of twisted fusilli pasta, and chopsticks bent into a U-shape like tweezers. These are some of creations conceived by 11 designers and design studios on view at an exhibition titled ‘Chopstick 箸’, and curated by Yoko Choy, Wallpaper* China editor, during Milan Design Week 2026.

Chopsticks, which originally emerged from the distinct culinary cultures of East Asia, are now a universal eating tool – simple, efficient and easy to clean. While spoons and forks have evolved over history to include decorative designs, the form of chopsticks has remained largely unchanged for centuries, requiring only manual dexterity for effective use. ‘Chopstick 箸’, by S—3, a platform for East Asian design, invites contemporary designers to rethink this familiar tool with thoughtful intervention, while retaining its simple design.

In Japan, a country rich in forestry, wooden chopsticks coated with resin from lacquer trees (a natural substance valued for its durability and natural antibacterial properties) date back as far as the 3rd century. While spoons and forks are commonly shared within households, chopsticks are regarded as personal and often cherished items; some people even carry their own pair with them day to day. At the same time, fast-food culture and Japan’s abundant timber supply have also given rise to disposable chopsticks, or waribashi – literally 'splitting chopsticks' – designed to be broken apart before use.

The Japanese design studio We+ draws on this tension between craft tradition and industrial expendability by removing the very thing that serves both designs: ease of functionality. By coating disposable waribashi in lacquer, their pair of chopsticks can no longer be split, rendering them redundant. The design disrupts their intended purpose while symbolically merging the two cultures. As We+ co-founder Toshiya Hayashi explains, the project explores ‘Japan’s chopstick culture, where the seemingly contradictory values of expensive lacquered chopsticks and disposable chopsticks coexist’.

Another Japanese designer, Jin Kuramoto, has designed ‘pasta chopsticks’ shaped like fusilli and penne, made from wheat flour. ‘Nowadays, chopsticks, spoons and tableware made from edible materials are being developed. Edible cutlery is also being re-evaluated as a technology that addresses environmental sustainability issues, such as reducing plastic waste. With this background in mind, I wanted to explore the potential of the idea of chopsticks made from pasta in Europe, the heartland of pasta culture,’ says the designer. After use, the experience continues: the chopsticks can be cooked and eaten, returning the object from tool to food.

Meanwhile, South Korean designers Kuo Duo have created the 'Seon' chopsticks, merging the linear silhouette of the stick with the gentle contours of a spoon. The concept draws on traditional Korean table settings, where spoons and chopsticks are always paired: the spoon used for rice and soups, and the chopsticks for vegetables, meat, and fish. For reasons of hygiene and ease of cleaning, both utensils have traditionally been made of metal, giving Korean tableware a distinctive character that sets it apart from the wooden utensils commonly found elsewhere in East Asia.

Indeed, spoons only became widely used in Japan from the late 19th century onwards, thanks to the influence of Western dining culture. Seen in this light, Korean dining culture – where chopsticks and spoons have long been used in tandem – can be understood as an early and fluid fusion of Eastern and Western tableware traditions, a balance that the 'Seon' hybrid subtly reinforces.

Another South Korean design duo, Niceworkshop, have completely reimagined the form of the object, moving away from the traditional pair of sticks in favour of a single U-shaped form crafted from curved metal. The design is intended to make chopsticks accessible to anyone, improving grip and control and making it easier to pinch and lift food with precision.

Flipping this idea completely, Chinese designer Mario Tsai has delved into manufacturing process as a means of solving high demand, effectively using the ancestral practice of tool-making as his inspiration. The result is an aluminium ‘chopsticks maker’ that functions much like a large pencil sharpener – simply insert a piece of freshly cut wood, and it is shaped into a pair of chopsticks.

Through the reinterpretation of chopsticks, the exhibition explores how shared traditions can evolve into contemporary narratives that carefully carry forward the cultural heritage of East Asia into a modern design language.

‘Chopstick 箸’, Via Pietro Giannone 3, Angolo Via Bramante 7, 20154 Milano

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