Gustaf Westman’s brilliantly bonkers Disney homeware is now available online

Last month, Wallpaper* previewed the first three products from Gustaf Westman's 35-piece homeware collection with Disney. Over the past three weeks, alongside an immersive pop-up in Tokyo, Westman has been gradually revealing more of the glossy designs on social media. As of today (15 November 2026), the full collection is available to shop on his website. Ranging from large furniture to keychains, each piece is an inventive abstraction or simplification of the familiar features of the Mickey & Friends characters.

They include a mirror (€390) with a chrome tubular steel frame tracing Mickey's head and outsized ears, and a pink ceramic 'Minnie' cup (€75) to match the 'Mickey' one revealed last month.

Goofy's hat has been transformed into a side table while his legs and feet have been fashioned into a playful coffee table. There is a Mickey plate (€80) and jewellery box (€1,190), a cup based on Donald's hat (€85), a ceramic vase in the shape of Mickey's trousers (€225) and a glass one based on Goofy's hat (€440).

While many of the rounded, high-gloss ceramic pieces are available off the shelf, larger designs and those in more unusual materials and finishes are made to order. These include a freestanding 'Donald' shelf, where Donald Duck's hat, arms, belly and feet serve as display surfaces, and a 'Mickey' bar cart with a circular frame and swooping, ear-shaped handles.

The 'Pluto' lamp strikes an almost gothic note, with a yellow satin shade and long black beaded fringing, while the 'Donald' candelabra leans towards Memphis Milano with its geometric forms in enamelled cast iron. Together, the pieces make up a slightly bonkers cartoon world, with enough variety to tempt Disney devotees and Westman collectors back for more.

We sat down with Westman to find out more about the design process, his research trip to Disneyland Paris and why he thinks playfulness is important at every age.

Wallpaper*: How did the collaboration with Disney begin?

Gustaf Westman: I was introduced to Disney by my friend and collaborator, Harry Lambert. We first connected through another project and what started as a smaller idea developed very naturally into something much bigger. I didn’t really have to think about it. Disney felt like a dream collaboration because there was already such a natural connection between their world and mine. The joy, playfulness and colour felt very intuitive, so from the first sketches there was never a sense of having to force the two together.

W*: What was your brief?

GW: It was very open, which gave me a lot of freedom to explore Mickey & Friends in different ways. I started by looking at the characters almost as a collection of shapes, colours and silhouettes. An ear, a bow or a particular combination of colours can be so recognisable on its own, so I kept asking how those details could become something else.

Rather than simply putting a character onto an existing product, I wanted to deconstruct them and turn those elements into the object itself. With something like the Mickey cup, the reference is immediate, whereas some pieces take a moment to realise the character references I liked having both approaches within the collection.

W*: Can you tell us about the design process?

GW: My process isn’t very methodical. I sketch a lot, I always carry a pen and paper. The first pieces I worked on were the cup and plate. It was almost as simple as looking at forms I already use in my work and asking: how do we make this recognisable as a character?

From there I could go deeper. I started looking at pictures of the characters and breaking them down into individual elements: an ear, a shape, a colour. Because Mickey & Friends have such a clear visual language, you can take those elements quite far and they remain recognisable. That gave me a lot of creative freedom, particularly with the bigger furniture pieces.

W*: You visited Disneyland Paris before designing the collection. Did anything surprise you or spark anything that found its way into the collection?

GW: I get inspired by shapes wherever I am, so of course there is an incredible amount to look at at Disneyland Paris. In some ways there is almost too much because the whole environment is so immersive. I don’t think there was one detail in the park that I saw and then directly turned into an object. It was more about experiencing the Disney world as a whole and being reminded how confidently it uses shape, colour and imagination. It reinforced the idea that I didn’t need to complicate things. The Disney aesthetic is already so strong, and there was something exciting about taking that for what it is and bringing it into my own world.

W*: What are your personal memories of Disney, and has its visual world influenced your work outside of this collaboration?

GW: Growing up in Sweden, one of my strongest Disney memories is watching Donald Duck at Christmas in some of the original Mickey movies. It’s something a lot of Swedish families do, so Disney was always part of my childhood in that way.

But working on the collection made me look much more closely at how the characters themselves were designed. I became really interested in the simplicity of those earlier 2D characters: the shapes, the colours and how little information you actually need for someone to recognise them. Mickey & Friends can be understood in a second, which I think is incredible design. That simplicity is something I relate to in my own work too. I am always interested in how you can reduce something down and still give it a very strong identity.

W*: Joy and imagination are central to your work. Why do you think that playfulness matters in the objects we live with, and does working with Disney bring a different dimension to that?

GW: I don’t think becoming an adult means everything around you suddenly has to become serious. I like objects that are functional but can also make you smile or create some kind of feeling. That playfulness has always been important in my work.

Disney adds another layer because people already have such a strong emotional connection to these characters. They remind you of being a child, watching the films or going to the Parks, and there is something very nice about being able to escape normal reality for a moment and reconnect with that feeling. With this collection, I wanted to keep that sense of joy and playfulness, but translate it into pieces that also belong in a contemporary design space.

Having already toured Tokyo with a pop-up experience this month, the full collection launches online today. The final pop-up in Paris runs next month from 4 – 6 December 2026.