A meeting of two brands that are never too far away from their next collaboration, the Fender x Paul Smith Telecaster is a new guitar out of Fender Japan, a limited-edition model due to ship in 2027 and created to mark the 80th birthday of Sir Paul Smith and the 80th anniversary of the founding of the Fender Musical Instruments Corporation.

Why a Telecaster? This minimal, timeless form was designed by Leo Fender in 1949 and went into production the following year. The form has remained essentially unchanged ever since, with an infinite palette of variations keeping the Tele fresh and relevant for each successive generation. The Made in Japan series offers some of the most stylistically eclectic and finely crafted models in Fender’s range; it’s also a market with a long history of Paul Smith fandom.

The result is this Made in Japan Paul Smith Telecaster, a guitar that is instantly recognisable as a product of the Paul Smith school of bold but tasteful polychromy. The Signature Stripe pattern covers both front and back of the alder body, paired with a tortoiseshell pickguard. A light-coloured Maple Modern neck and dark Rosewood fingerboard (the neck is shaped in Fender’s shallow C-shaped profile).

The guitar also features two specially modified pick-ups in the Telecaster’s signature bridge and neck positions, along with a brass barrel bridge and a custom neckplate bearing the Paul Smith logo. Each guitar is individually numbered and comes with a specially designed hard case. Orders are open now for delivery next year.

In addition to the guitar itself, Paul Smith has collaborated on a new 16-piece capsule collection of clothing and accessories, running from ready-to-wear pieces to fine tailoring. One item that’s a must-have for buyers of the Telecaster is the Signature Stripe Paul guitar strap, made in Japan with co-branded leather trims and a polyester weave that perfectly matches the guitar itself.

Fender x Paul Smith Telecaster, £1,999, UK.Fender.com, @Fender

Paul Smith x Fender Signature Stripe Guitar Strap, £150, PaulSmith.com, @PaulSmithDesign

Launched this week at the firm’s shiny new store in New York, this is the Teenage Engineering EP-35, a standalone amplifier designed to be used for a keyboard, guitar, voice or whatever else needs plugging in and turning up. Powered by batteries, the relative simplicity and necessary scale of the amp has allowed TE to indulge in its passion for the cassette-futurist aesthetic, although as with the rest of its diverse range, there’s much more to the EP-35 than first meets the eye.

In addition to having a host of inputs (line, microphone, guitar, USB and Bluetooth), the EP-35 also has an array of eight effects tracks on both the mic and guitar input, selected and adjusted via old-school roller dials. These are programmed and labelled with typical TE aplomb (Indie, Twang, Robo Choir, Frog, etc), epitomising the company’s status as a supplier of eccentric gear that appeals to both hobbyists and ‘serious’ professionals.

Round the back of the amp there’s a storage compartment and a ‘camp light’, which can also be switched to a sound-reactive disco mode. Accessories include a carry bag and the K.O.–PEDAL expressive foot controller, which not only allows you to change volume and effects but should also work with other compatible gear.

An accessory kit is also available with a USB drive, microphone, the amptenna FM receiver (good for campfire audio) and a dock for clipping the Pocket Operator series of audio machines to the side of the amp.

A few weeks ago, there were hints from the TE camp that the company might be done with making synthesisers. As the creators of the hugely desirable OP-1 and its successor, the OP-1 Field, TE has lured countless synth-curious customers into acquiring what is are usually ferociously expensive pieces of hardware.

TE's gear has loyalists and detractors in equal measure, but could the company really be stepping back from the sector that made its name? The company suggested that such devices function just as effectively as a form of therapy as they do as a means of helping musicians make a living, so it's just possible that TE wants to focus its not inconsiderable industrial design chops on sectors that are a little less niche, like the EPA1 electric scooter it shaped for Vässla last year.

In any case, the music industry is changing fast. The past couple of months have seen the rise of homebrewed, vibe-coded firmware and decompiled operating systems, allowing enthusiasts to make major changes across everything from games consoles to high-end synths.

Many reckon this wave of AI-driven re-engineering will blow apart the cosy world of expensive proprietary boxes, dramatically slashing the status of carefully crafted interfaces like those created by TE. It’s very much a watch this space situation.

Teenage Engineering EP-35 Amplifier, £349, accessories sold separately, Teenage.Engineering, @TeenageEngineering

How do you interact with technology in the quiet comfort of your own home? Anecdotal evidence suggests that too many of us simply take our scrolling habits home with us, distractedly swiping away through family meals or double-screening during boxsets. If we can’t give up our hard-won instant access to information, trivia and diversion, we can at least find ways of managing it.

Enter the home hub or home display. A category that barely existed a decade ago, these fixed-position second screens serve as portals to digital assistants as well as streaming devices, alarm clocks, kitchen timers and any number of hands-free, voice-controlled functions, as well as meshing and controlling smart home ecosystems. Amazon launched its Echo Show back in 2017 with Google following on the following year with its Home Hub.

Now it’s Apple’s turn to enter the fray. HomeView is Apple’s first-ever home assistant display, a characteristically polished device that foregrounds the physical design, the user interface and the close integration of Siri AI and Apple Intelligence.

If the design doesn’t wow you – and it should, especially when compared to the often rather plasticky offerings from its rivals – then Apple hopes the onboard intelligence and stringent privacy functions will encourage you to switch over to HomeView.

Featuring a seven-inch Liquid Retina display with adaptive brightness that goes all the way down to a soft glow for nightstand use, HomeView is finished in Apple’s signature aluminium. In addition to a wall-mounted version, the principal device sits on a domed speaker base, joined by a well-engineered stainless-steel hinge to adapt the viewing height. Right now, it’s available in silver, starlight, rose pink and space grey (Apple helpfully and predictably matches its USB cable colours to the case colour).

A lot of thought has gone into making HomeView intuitive. In addition to smart home management, streaming audio and making calls, the device has been tailored for use in multi-person households. If you have several Apple accounts on the go, HomeView has facial recognition, so it’ll bring up personalised content when you approach the device. Likewise, the proximity sensor keeps information bold and legible from across the room and switches automatically to a more detailed display as you approach.

What you have on your HomeView is very much up to you. As well as making Facetime calls and sorting through calendars, it can serve up photos from your camera roll and serve as the primary dashboard for smart home devices, from the thermostat and lighting controls through to doorbell cameras and more.

You’ll need a supported iCloud+ subscription to delve into the expansive options, which include new devices in the Apple Home Collection, but in principle it frees up the mind and hands from reverting to familiar scrolling patterns.

Access to the latest Siri AI model is the icing on the cake for those of us who have become used to simply asking random questions out loud, hoping that a suitable device is in earshot. Apple Intelligence is also used to add a layer of sophistication to HomeView’s syncing abilities, whether it’s continuing conversations across devices, recalling personal playlists, messages and calendar items, or simply being contextually aware of who is engaging with the device.

Another neat feature is the ability to dissemble online recipes into a series of bullet points, complete with handily placed timers, to save endless pinching and zooming around a web page.

The interface is clean and beautifully animated with extensive personalisation offerings. Clocks, weather panels, photos and more can be swapped in and out, with the friendly Snoopy IP also making a comeback.

The display contains two speakers with a bass woofer in the stand, making it a pretty decent option for listening to music and podcasts; Apple’s Handoff function seamlessly transfers the current song or episode from car or phone to the device. It can also sync with AirPlay-compatible speakers.

Apple’s inevitable arrival in this space has been achieved with typical panache, allowing those already immersed in the company’s ecosystem to carry on playing within its fragrant walled garden. For everyone else, the quality bar has just been raised.

Apple HomeView is available in silver, starlight, rose pink, and space grey for £299. HomeView Wall Mounted comes in space grey and silver for £299, Apple.com

Many of us already live with some kind of domestic digital companion, even if it is in the acceptable form of a smart speaker like an Amazon Echo or Google Nest Hub. But what if these inanimate objects were imbued with a little more character? Would interactions become less fraught, frustrating and functional (‘Google, what’s the weather like in London today’)? Might we all just slow down a little, snagged by the lure of a ghost in the machine?

OKA was founded by Wesley Chen and Hua Wang, a self-described ‘nomadic entrepreneur’ with a very specific reason for his approach to robotics. ‘I spent ten years designing mechanisms to make people come back to their phones,’ Wang says candidly, explaining how his new robotics venture OKA (One Kind Artifact) set out to be something different. ‘I watched Fritz Lang’s 1927 film Metropolis and it made me question why robots are still not a part of our lives, nearly 100 years later,’ he says over video from New York.

For Wang, the answer boiled down to two things; the expectations that a robot should be able to do everything a human could do, and the corresponding need for them to be human-scaled, large and mechanical. ‘I couldn’t imagine having such intrusive machinery in my house,’ he admits.

The answer is Mori, a ‘robot that belongs in a home’. At 30cm tall, roughly the same size as a desk lamp, Mori (Japanese for ‘forest’) is explicitly not an appliance, nor a Terminator-style humanoid that needs a whole afternoon to fold your laundry.

The most obvious visual metaphor is a mushroom, with an illuminated hat/cap above a bulbous fabric-covered stem. In between the two sits Mori’s ‘face’, two illuminated eyes and a button (camera) nose. Servos activate a discrete range of fluid movements, eyes dart left and right, eyelids flutter and the little robot offers a convincing portrayal of an introvert tucking itself away beneath its hat and hiding from the world. It’s a distinctly non-threatening piece character design, a static yet personable object that feels part Pixar, part Studio Ghibli, part Flos.

Switch Mori on and tap the stem to wake the device and an elaborate start-up theatre ensues, with the device appearing to run through phases of shyness and curiosity as it wakes. The illuminations cycle through a range of colours, responding to touch and voice, while the fabric body (25 per cent real wool and available in four colours) also incorporates sensors. Mori’s onboard AI will, in time, learn to recognise different people and environments, as well as run through actions in response to commands or taps. New 'personality' quirks and responses will continue to evolve and emerge.

So what’s it all for? Wang describes the device as ‘something to relax and calm you down’, with inbuilt relaxation programs triggered by resting a hand on Mori’s 'head'. In this mode, ambient sounds and lights are generated as part of a guided breathing session. These immersive sessions – forests, seashores, etc – are all accompanied by a swirling light show to help transport you into a different state of mind. Of course, Mori also functions as a regular light.

Ultimately, OKA wants Mori to be a piece of mindful technology, an object that becomes more and more in sync with the humans around it, thanks in part to the company’s ‘Attentive Intelligence Engine’. Think of it as an alarm clock with character, one that welcomes you home after work, with eyelids that flicker and droop as the evening turns into the small hours, perhaps encouraging you to finish up and go to bed.

This dependence on contextually powered AI also shapes Mori’s response to other stimuli, which it usually translates into movement and light, rather than speech and sound. In this respect, it’s more adjacent to a giant Tamagotchi than it is to an Alexa, but still a step down from a cat.

Mori is the first in what OKA hopes to be a suite of five such mindful ‘Artifacts’, each of which uses robotics and AI technology to offer a new spin on emotional response. Mori’s role is to ‘explore the relationship between humans and their immediate physical environment’, rather than chase diary dates or offer reminders for chores. No two Mori devices will ever be alike – put two or three together and watch them communicate in different ways.

Whether you treat it as animated nightlight, spirited sound therapist, or just a digital pet, Mori shows the potential of immobile yet highly engaged AI-powered objects. With OKA poised to reveal its portfolio of more animated Artifacts in the months to come, we’ll keep you posted.

Mori Founder Edition (limited to 500 units), $649, OKA, OneKindArtefact.com

Traditionally known for its restraint and simplicity, Leica’s new partnership with Formula 1 combines a more visceral and emotive design approach, along with the use of decidedly non-photographic materials like carbon fibre. The first fruits of this partnership are the limited-edition Leica Q3 43 Formula 1 model, which is being launched with an accompanying exhibition of images by Italian motorsports photographer Callo Albanese (not using, it must be said, the new camera).

The Q3 has been one of Leica’s key models for several years, a full-frame digital camera with a fixed-focal-length APO-Summicron 43 f/2 ASPH lens that’s intended to precisely mimic the viewpoint of the human eye. Leica aficionados want to look then shoot, framing intuitively without having to fiddle about with a zoom.

In that respect, it’s a performance-focused camera, just like every Leica. The partnership goes a little further, however, by dressing up the simple form of the Q3 body with materials more suited to the pit lane. These include a carbon fibre shell for the wireless charging handgrip, along with additional applications on the shutter plate, thumb rest and shutter button.

All these new components were made in Germany, as is the camera itself, with millimetre-perfect carbon fibre weave. The ‘F1’ logo is also etched into the top plate and imprinted on the rope strap ends, while the front of the camera gets a non-slip Microvelour covering that’s inspired by an F1 racing steering wheel.

Leica and F1’s bosses have high hopes that this special edition will find its way into the paddock and become an essential accessory in the burgeoning circus surrounding the sport. It’s certainly technically adept enough to compete in this fast-moving, high-technology environment but let’s not forget that modern Formula 1 is still in full-on zeitgeist mode, riding a fresh wave of popularity and making new branded partnerships along the way.

Leica Q3 43 Formula 1 Edition, £7,300 / €8,500, Leica-Camera.com, @Leica_Camera

Music tech giant Roland has announced the launch of the Jupiter-08 synthesizer, the latest addition to its Roland Boutique range of compact, vintage-inspired desktop instruments. The original Jupiter-8 debuted at the cusp of the synth era in 1981, a flagship device that shaped some of the key sounds and songs of the decade.

In synthesis terms, the Jupiter-8 was a ‘polyphonic analogue subtractive synthesizer’, compressing all the company’s know-how into one hefty machine with a £4k-plus price tag to match (original examples now go for upwards of five times that, even more when a little bit of provenance is attached). In the 45 years since the Jupiter-8 made its debut, synthesists have never lost their love of its hands-on interface of sliders and knobs, intuitive arpeggiator and rich, sound-shaping possibilities.

You will doubtless have heard the Jupiter-8 in action. Beloved by artists like Giorgio Moroder and Tangerine Dream, Duran Duran, Marvin Gaye, Tears for Fears and countless more, it’s the sound of the main chords in Michael Jackson’s ‘Thriller’ and the primary instrument in Harold Faltermeyer’s era-defining synth workout ‘Axel F’. All this 1980s goodness is now wrapped up in a Roland Boutique package with the added benefits of an onboard speaker, battery-powered operation and full MIDI compatibility (something the original didn’t have).

Supplied with Roland’s modular K-25M keyboard, which can also be used with other modules in the Boutique range, the Jupiter-08 is ultra compact for also ultra powerful. Polyphony can be increased to 32 voices, while the step sequencer runs to 64 steps. There are also 17 onboard effects to create a truly self-contained and portable sound machine.

The new Jupiter-08 is joined by another new Boutique release, the n/vision wavetable synthesizer, adding to a range that includes compact contemporary versions of such classic electronic instruments as the TB-303 and TR-909 and the Juno-106.

Roland Jupiter-08, $549.99 / £589, Roland.com, @RolandGlobal, Andertons.co.uk

Sony was once the GOAT of all things related to portable audio, a title it’s had to relinquish in the face of hundreds of new challengers. Whilst the Japanese giant made hay in the compact cassette and CD era, it subsequently struggled valiantly with its superior but overlooked MiniDisc format and then watched everything go to pot as mp3s rose in popularity and Apple stepped forward to create the definitive player and ecosystem.

It’s not that Sony ever stepped back from the format, or that its mp3 players haven’t been any good, but for two and a half decades the zeitgeist has largely passed it by. With renewed interest in all things mp3, from affordable ultra compact players to a new wave of premium players from the likes of Astell&Kern, Sony wants to be back in the game.

These are updated versions of Sony’s two premium Walkman models, the NW-WM1ZM3 and NW-WM1AM3. They sit at the very pinnacle of Sony’s portable range, with prices to match, and compare only to a handful of other dedicated mp3 players. In short, we’re in true audiophile territory here, and whilst those of not blessed with golden ears will thrill to upgrades like the larger 5.5” touchscreen and 31-hour battery life, the real improvements are under the skin.

Build quality is clearly second to none, and Sony hasn’t scrimped on components either. To minimise noise and maximise sound quality, the company has used materials like oxygen-free copper and gold-plate. This is particularly evident in the NW-WM1ZM3, which uses a precision-machined, gold-plated oxygen-free copper (OFC) chassis (and a gold surface finish to match).

It’s joined by the NW-WM1AM3, which has to make do with aluminium-alloy for the main chassis (with gold-plated OFC on the rear). Improvements to power supply and circuitry is said to bring other big audio quality wins, with Sony’s onboard DSD Remastering Engine capable of upgrading digital files to give them a more analogue quality.

All this is slightly undermined by Sony decision to only cite playback times using low-quality 128kpps mp3 files, anathema to most fans of high-fidelity (although good for over 60,000 songs, given the player’s onboard 207GB of storage). Even if you only use files in the maximum lossless FLAC format, the new Walkmen are still good for around 10,000 songs. Streaming audio abilities also come as standard.

Alas, we’re in the realm of perception now, and while both players have characteristically high-quality finishes, a straightforward interface that combines a touchscreen with physical transport and volume buttons, the positive improvements netted by the circuitry, hand-soldering and absence of oxygen will only make a difference to a very small coterie of hardcore audiophiles.

Sony Walkman NW-WM1AM3, £2,099 / €2,499, Sony Walkman NW-WM1ZM3, £4,299 / €4,999, Sony.co.uk

From branded initiatives to art installations, bespoke sound systems, and immersive playback experiences, soundscapes are the pavilions of our era. So why exactly has the physical shape of sound taken on so much cultural weight? Is it all about the soundtrack, the space, the speakers, or simply the ethos and experience of being completely immersed within audio? What's most notable is who is engaging with sound and why.

The current state of audio fetishisation has moved on a stage from the listening bars of the last decade into something even more involved – a full-on, highly performative sonic immersion. The rocketing revival of physical media, from vinyl to cassettes and CDs, is coupled with a renewed interest in sound systems big and small, bespoke speaker designs and custom installations.

Listening rooms, once considered a niche within a niche, have gone mainstream, as brands, manufacturers and artists realise the power of focused listening as a tool for securing attention in a focus-deficit world. Musicians and sound designers, too, are seeing their work bleed out of traditional venues and into the realm of dedicated events activations.

The emotive qualities of sound and music have been amplified in the digital age. Younger generations appear more wedded to their headphones than any critics of the Walkman could ever have predicted back in the 1980s, perhaps to avoid a world full of misophonic cues. Then there's its inverse, the spine-tingling world of ASMR, which can add a spicy frisson that's simply impossible to achieve via any other medium.

In the meantime, sound design has also found fresh favour across the established design calendar. From Fritz Hansen's Sound Club collaboration with Technics and Bang & Olufsen's Residence of Beautiful Sound at this year's 3 Days of Design to Nine Days of Green in Copenhagen, an ‘international sound art festival' being trialled by the Sonic Museion: Museum for Sound Art, in the city's northern suburb of Sorgenfri Torv, sound has found itself a new audience. These partnerships often result in natural brand extensions – the Fritz Hansen/Technics alliance resulted in a new edition of the ‘SL-40CBT' turntable, while B&O got the opportunity to showcase its bespoke ‘Atelier' series in a (grand) domestic space.

Designer Angelo Nitsopoulos and his studio Bentgablenits worked with Swedish manufacturer Teenage Engineering for a 2025 exhibition, ‘Sounds Like Home', which tapped into music boxes and dolls' houses to evoke nostalgia. ‘People are increasingly craving moments of intentional focus,' says Nitsopoulos. ‘In a world where nearly every brand experience competes for attention, sound installations do the opposite. They invite people to slow down and engage more deeply. Audio is one of the few mediums that can completely shift how a space is experienced without demanding visual attention.'

Bentgablenits was also instrumental in the making of the ‘Choir', TE's anthropomorphic wooden doll chorus (a Wallpaper* Design Awards 2023 winner, no less). ‘Technology should be experienced, not demonstrated,' says Nitsopoulos. ‘For brands, dedicated listening spaces have become a way to create genuine emotional connection rather than simply another product launch. The strongest ones don't feel like marketing. They feel like culture. When someone gives you 20 minutes of uninterrupted attention, that's far more valuable than a few seconds scrolling past a campaign online.'

Then there are the occasions where the audio component feels like an attempt to ensnare the next new thing. Alcohol brands find a natural affinity with sound. At the turn of the decade, Krug enlisted the late Ryuichi Sakamoto to create a symphony, Suite for Krug in 2008, to celebrate an exceptional champagne vintage. This year, it was Dom Pérignon's turn, with Expressions of Harmony, a ‘multisensory experience' in bespoke spaces in New York and LA, timed to accompany the launch of three vintages.

Overseen by Andrew Freesmeier with audio by Jonathan Weiss of OMA and Fleetwood Sound, the spaces were animated through a specially recorded mix of Nepalese cymbals, Koji chimes and Tibetan singing bowls, conjuring up a soundscape with purported links to Dom Pérignon itself. According to Weiss, this mix of ‘harmony, resonance and duration' has parallels with the tasting of the champagne. A surprise performance by Mark Ronson added a bit of fizz.

Soundscapes and intentional listening bring a ceremonial aspect to these activations, demanding greater focus and involvement than, say, a party or performance. There's also a mindfulness element to consider, thanks to the contention that focus and intentionality are a welcome salve for short attention spans, skipped-through playlists and relentless soundbites.

Events like Pitchblack Playback (listen to classic albums, previews and DJ mixes in the dark, no phones allowed) or Polygon Portal (a darkened room with cutting-edge, 360-degree spatial audio) want to bring back the sense of occasion once commanded by the humble vinyl LP, when you put the needle on the record and listened straight through each side, no distractions.

In Las Vegas, you can visit the Vinyl Room at the Mandalay Bay resort and casino, which follows on from Live Nation's Vinyl Room at the Hollywood Palladium. It's a mix of 1970s kitsch, analogue audio, classic albums and a (new term alert) ‘wheatpaste archive' of show posters from artists who have trodden the Palladium stage in the past. Speakers from Fulcrum Acoustic and MasterSounds are paired with Technics' ‘SL-1200s' across the three lounge spaces. Technics has also partnered with Suntory Whisky Toki and London's Spiritland King's Cross, one of London’s original listening bars, to create a series of events running at venues around the UK until December. Toki-ONights is described as a ‘new ritual for UK nightlife, importing Japanese listening bar culture, the kissaten, with a modern twist'.

For sound designers and live musicians, there's more to all this than a pair of massive speakers, moody lighting and a smartphone ban. At Oxford's Schwarzman Centre, Icelandic post-rock band Sigur Rós worked with David Sheppard and John Best of spatial audio specialists Loss Gain, as well as Oxford University academics, to create Ára. For one week only, this elevated take on ‘deep listening' brought together audio from the band's live shows with D&B Audiotechnik's Soundscape sound system, lighting design by Matt Daw and even a scent (from singer Jónsi's perfume brand Fischersund), all coming together to create a communal ‘transformative state' with wellbeing potential.

Another audio project that puts concentration at its heart is Deeper Focus. This non-site-specific soundscape was created by Richie Hawtin, better known as Plastikman, and released via the Endel wellness app. The Berlin company specialises in ‘personalised adaptive soundscapes' that increase focus and reduce stress.

In autumn 2026, London's Southbank Centre is holding the UK premiere of a ‘mixed-reality classical music experience', Playing With Fire: An Immersive Odyssey with Yuja Wang, the Chinese/American pianist. Bringing together live music with art and mixed reality via spatial audio technology and mixed-reality headsets, this might be the audio version of stepping into an immersive projection of a Hockney or Van Gogh, having a night out at ABBA Voyage or enjoying an IMAX presentation of a Christopher Nolan film. Seekers of authenticity beware; the programme notes clearly state that ‘Playing with Fire does not feature Yuja Wang in person. The experience is a virtual concert featuring a pre-recorded avatar of Yuja and her recital, presented in an immersive environment.'

This uncertain collision of the real and the virtual presents a liminal space ripe for exploration, even if experimentation is limited by commercial considerations. London-based Sonic Design Studios (SDS) is one of the multidisciplinary firms operating in this field. ‘We work at the point where sound meets architecture and interiors, rather than at the AV end,' says the studio's founder Tariq Ibrahim, explaining how sophisticated measuring systems will shape the deployment of audio in and outside the home. ‘Many in the field treat acoustics as compliance: decibels, thresholds, sign-off. There are industry standards that set physical limits, but neither measures the cognitive burden a room places on the person inside it. That's the gap we work in.'

SDS wants to explore the ways in which sound can alter moods, using a bespoke framework they call the Cognitive Load Index that tracks how spatial and material design impacts who is in such a space and for how long. ‘Acoustics is still typically specified building-wide, one treatment logic applied across a scheme. But because our model accounts for occupant and duration, it returns a different score room by room,' says Ibrahim. A recent SDS project that exemplifies their approach is Claude's at Chotto Matte in London's Soho. ‘It's a members' listening lounge where sound is designed as atmosphere rather than infrastructure, and designed alongside the interior rather than after it,' notes Ibrahim.

New York studio Silence Please operates in a similar space. A recent project with Adidas Originals led to an installation at the brand's SoHo flagship store, along with a limited run of track jackets with embroidery inspired by speaker design. The studio describes itself as ‘operating at the intersection of hi-fi audio, spatial design, and contemporary culture', with a speciality in building audio systems that are also ‘sculptural design objects'.

These, too, are a familiar trope. Visitors to Peter Doig's recent ‘House of Music’ exhibition, on show at London's Serpentine Galleries, were awed by the speaker system that accompanied Doig's paintings. Salvaged from derelict UK cinemas by the artist's co-collaborator, cinematic sound enthusiast Laurence Passera, the mighty units date from an era when power and scale were inseparable qualities. Built by Western Electric/Bell Labs in the pre-war era, these rescued audio monoliths have been repurposed for the modern age, alongside a soundtrack library of 300 vinyl records, to provide immersive analogue warmth for a new generation.

This blend of wattage-fetishism is feeding straight back into the higher end of hi-fi. Speakers are getting larger, more ornate and elaborate. Belgian vintage specialist Wauw keeps classic audio pieces alongside its furniture stock, from early B&O to unique pieces by French actor and hi-fi dabbler Alain Delon. And in recent years, we've seen forays into luxurious audio from the likes of Jony Ive (Linn's ‘Sondek LP12' turntable), Brian Eno's ‘Turntable II' (using Pro-Ject components) and B&O's five ‘Beolab 90' editions, with prices upwards of £400,000 for a pair. Many leading hi-fi companies already have specialist home installation services, but others are going further still. This summer saw the launch of Loewe Systems, a dedicated arm of the German audio brand that will focus on integrating sophisticated systems into high-end yachts, cars and residences.

The rapid arrival of the new audio environment has left the gallery behind, favouring pop-ups and festivals, brand activations and elaborate home audio set-ups over the avant-garde physicality of pioneering sound practitioners. The work of artists like Christian Marclay, Laurie Anderson, Janet Cardiff, John Cage, and even Brian Eno and David Byrne, achieved its transcendence without the need to sell something else. Earth-shattering audio is both tool and talisman, a means of self-expression for brands and big rollers alike.

Most importantly, it's not just classic albums and contemporary artists that are playlisted in these new physical spaces of listening, but also specially curated, bespoke soundscapes designed to be enmeshed in the physicality and design of the music systems and spaces themselves. For some listeners, intentional audio spaces are a way of finding a point of focus within a chaotic system. For others it's a chance to redirect wayward attention, a new tool at the busy intersection of commerce and culture.

This article originally appeared in Wallpaper* magazine, October 2026. Wallpaper* is available in print on newsstands, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

With the Apple iPhone Duo just around the corner, are we in for a quiet revolution in smartphone form factor as folding devices finally hit the mainstream? Past experience suggests that niche devices struggle to hit the big time in the face of the monumental popularity of standard iPhones, Samsung Galaxies, Google Pixels and straightforward devices from countless other major makers.

Ahead of the Duo’s debut (23 October, although you can pre-order now), we’ve rounded up a trio of new phones that do things slightly differently from the mainstream, unburdened by the crushing demands of multi-million pre-orders of crucial components that absolutely have to translate into concrete sales. If expectations are a little lower and brand values less locked in, then difference has a chance to flourish.

It doesn't always succeed of course – for every Nothing there are five others who have fallen short. Read on to discover a calming screen, a big-ticket brand deal and an alternative take on the folding format.

Tecno Pova 8 Pro 5G Tonino Lamborghini Limited Edition

For better of for worse, Lamborghini has one of the more distinctive corporate and design identities of the modern era. How does that translate into smartphone design? A collaboration between Tecno and Tonino Lamborghini, the independent accessories and partnerships company that shares its name - but not its ownership - with Lamborghini automotive, the new phone joins a line-up that includes powerboats, laptops and real estate.

The Pova 8 Pro has been given a thoroughly Tonino-themed overhaul, from the black and red casing with flashes of the Lamborghini hexagon pattern and the ‘bull’ emblem, to the custom Android 16-based HiOS, with unique icons and wallpapers. The phone itself feels relatively lightweight in the hand (189g), despite the large 6.78-inch AMOLED display.

It offers up to 512GB of storage and 24GB of memory, while the front selfie camera is 13MP, with 50MP and 8MP Ultra-wide cameras on the rear, along with Tecno’s ‘Alive Matrix Display’, a notification system that owes more than a little to recent Nothing designs. Based in Hong Kong and originally focused on emerging markets, Tecno is now a global brand with aspirations to become more upmarket.

Like any mass-market co-branded phone, the Tonino Lamborghini Limited Edition probably won’t attract much attention from actual Lamborghini drivers, especially as it could prove hard to get in the UK and US. As a curio for car fans, it currently stands alone.

Tecno Pova 8 Pro 5G Tonino Lamborghini Limited Edition, more information at Tecno-Mobile.com

TCL P80 Ultra Nxtpaper

TCL’s newest smartphone also does something different, albeit this time, it’s the screen, not the branding. While ostensibly a very straightforward, traditional black slab of a phone, the TCL P80 Ultra incorporates the company’s Nxtpaper display system, a hybrid screen that combines AMOLED technology with a matt, e-ink style display. The tech has evolved from earlier models like the TCL 50 Pro to become something of a jack of all trades for heavy readers and content consumers.

The display transforms via a sliding button on the side panel, turning the 6.83-inch 1.5K display from full colour into a monochrome reading experience – a wobbly screen animation signifies the three-second transition. Select between ‘Paper Mode’, which dulls colours and brightness for greater readability and less eye strain, and ‘Max Ink Mode’, which doubles up as an excellent battery-saving option, effectively giving you days of use.

It’s impressive stuff, especially when paired with close integration with Google Play Books and offline e-reader files and pdfs. Max Ink Mode also turns off the kinds of app that suck up your attention, transforming the TCL P80 Ultra into a pocketable novel or simply a phone. Flick the switch back and full brightness returns.

Also on board are a 50MP 3x periscope telephoto camera, faster charging that earlier models and access to Google’s on-device Gemini AI services. TCL’s phone tops out at 512GB storage and 24GB RAM and also has IP68 water and dust resistance.

TCL P80 Ultra, more information at TCL.com

Xiaomi 18 Fold

Finally, another entry into the foldable sector. Xiaomi’s 18 Fold is currently only available in China, but it’s a worthy riposte to the iPhone Duo and Samsung Z Fold8 Ultra. As that implies, the 18 Fold follows Apple and Samsung with its compact, passport-style proportions, rather than the book-like fold created by sandwiched two conventional screens together. That’s still enough for a 5.38-inch cover display and an inner display measuring 7.58-inch (closely comparable to the Samsung’s 5.5-inch and 7.6-inch screens and Apple’s 5.36-inch and 7.58-inch screens).

So what does and doesn’t Xiaomi bring to the party? The design accomplished, with prominently rounded corners and a camera bar on the front. The inside camera is still punched out of the screen, unlike the ‘Under-display’ FaceTime camera on the iPhone, but the triple outside camera unit is made by Leica, which the other two can’t match.

Lack of European or US availability currently hampers the 18 Fold’s ability to counter Apple, but such is the pace of change that we can’t see that situation staying the same for long.

Xiaomi 18 Fold, from 14,999 yuan, more information at Mi.com

Naim’s newest all-in-one system is the Mu-so Utopia, a new flagship wireless audio system from the Wiltshire-based manufacturer. Utopia upgrades the Mu-so line with more power than ever before, packing the latest amplification, streaming and immersive audio technologies into a slender table-top device that’s designed to fill an entire room.

The Mu-so Utopia has a total power output of 720 watts, with a total of 15 speaker drivers contained within its brushed anodised 1m-long rectagular aluminium casing (11.8cm high and 29.5cm deep). Fully Dolby Atmos compatible, the Utopia is aimed at those who want a comprehensive one-box solution, doing away with wiring tangles and the complexity of pairing and matching different components and speakers.

To achieve its room-filling sound, the company has developed its own Naim Pulse Platform, with speakers utilising technology from parent company Focal, and bespoke streaming and audio processing algorithms. The result is a broad and well-defined soundstage, one that goes far beyond the physical size of the unit. High-definition streaming is also on board, as is an adaptive set-up process that tailors the various audio reproduction systems to the room.

A full suite of connectivity to the key lossless music providers (Tidal, Qobuz, Spotify and more), as well as direct connection to streaming devices via AirPlay and Google Cast, etc., is all controlled via the Focal & Naim app for phones as well as Android Wear and Apple Watches.

There’s also a Multiroom function that enables the Mu-so Utopia to tap into a larger Focal and Naim ecosystem, should you already be a fan, and admirers of digital assistants will be pleased to know they can instruct Siri and Google Home via the device.

With the addition of Dolby Atmos, the Mu-so Utopia can also serve as the centrepiece for a home cinema system; HDMI eARC and Toslink optical connections enable it to be connected to a TV, console or other digital sources. Speaker placement has been considered to maximise the sense of spatial audio, with 7 located at the front, including the bass woofers, 2 on each side and 4 on top.

Audio Modes can be changed depending on the media (podcasts, movies, music, games, etc.), via a special set of ‘Sphere’ modes developed by Focal and Naim that uses the position of the speakers to reflect sound off surrounding walls and ceiling. The case is finished in deep black brushed anodised aluminium alloy, with a special red trim to demarcate the flagship device.

Mu-so Utopia by Naim Audio, €5,000 / £4,499 / $5,500, NaimAudio.com, @NaimAudio

As we ease into an era of technological uncertainty, the more familiar and longstanding devices in our lives seem to be softening their approach. Whether it’s the introduction of a Kvadrat fabric, mix and match palettes or even a teal turntable, there’s a renewed interest in bringing colour back to electronics design.

Tivoli Audio certainly thinks so too. The American manufacturer has launched the Naturals Collection, bringing four new colourways to its Model One analogue radio and combined Bluetooth speaker. This is the model that debuted with Tivoli’s launch back in 2000 and has stayed in production ever since, with updates and enhancements along the way.

Originally designed by the audio engineer Henry Kloss, Model One’s timeless fascia of dials and a single round speaker has endured. The limited-edition Naturals Collection includes four colours, Sage, Eucalyptus, Ginger and Angora, all of which evoke natural and organic materials and textures. Sage green has a retro-tech quality, while Eucalyptus and Ginger are unconventional tones for the genre. Finally, there’s the creamy off-white of Angora.

In addition to these nature-infused colours, Tivoli Audio is also stepping up an in-house program to cut back on its own environmental footprint, with more recycled packaging materials and the use of responsibly sourced wood for its cabinets. The company encourages old units to be returned to the factory for refurbishment and/or recycling and there’s also Tivoli Together, an environmental initiative that is working with the tree-planting non-profit One Tree Planted.

Enduringly analogue and blissfully free from screens, the Model One BT has always been a welcome throwback, now with added style.

Naturals Collection Tivoli Audio Model One BT, €199 / $199.99, TivoliAudio.com, @TivoliAudio

With their milk carton-inspired form factor and on point selection of colour finishes, the new Speaker S and Speaker M from CMF offer up a tantalisingly affordable piece of audio equipment for the younger generation. This is the first time that CMF – Nothing’s India-based sub-brand best known for their smartphones, watches and headphones – has ventured into the realm of portable audio.

The two sizes are self-explanatory (half a litre and a litre, for those still thinking about milk), and the speakers play nicely with each other via a special Stereo Mode and Party Mode, encouraging you to acquire a pair. In fact, it’s more of a set, given CMF have lived up to their name and dug deep into their palette bag to conjure up four delightful hues for each size, White, Dark Grey, Orange and Turquoise.

More playful in tone than Nothing, which tends to over-emphasise the tech within, CMF is about reduce functions to the most minimally appropriate forms. Both speakers therefore have simple and swappable front panels and knobs to further mix up the available chromatic options. On top of that, the company is encouraging 3D-printer owners to go while and add another layer of personalisation.

Both speakers include Bluetooth 6.0 connectivity, strong IP68 protection dust and water resistance rating and have an impressive maximum battery life of up to 18 hours in ideal conditions. Naturally, the larger speaker is the louder, with the smaller S targeted at desk workers who want a colourful audio companion that looks good even when there’s nothing on.

Both come with an Ultra Bass mode and can be further tuned through the Nothing X app. Charging is via USB-C, which also offers audio compatibility for ultra-low-latency playback (good for gaming).

The sizing guide suggests a Speaker L might be in the works for even more power, but for the time being you’ll have to make do with the custom-tuned 45 mm full-range driver and dual passive radiators in Speaker S (up to 10W output) and a dual-driver (25W woofer and 10W tweeter) in the Speaker M.

CMF Speaker S, $59, CMF Speaker M, $109, nothing.tech, @nothing

What’s new in the world of countertop brewing? Coffee aficionados have more choice than ever before, as classic designs are reimagined and new forms of capsule, pod, drip, filter and bean-to-cup machines make their way onto the market. We’ve assembled six contenders in the race to create the perfect cup.

Lelit Victoria3 and Elizabeth3

Lelit’s two new espresso machines, the Elizabeth3 and Victoria3, offer a choice of scale, both in terms of countertop real estate and their capacity. The Victoria3 has a single boiler, while the Elizabeth3 is a dual-boiler machine, and both come with Lelit’s Pagaia dedicated flow-control system, all part of the company’s philosophy of crafting coffee. Flow control is a means of moderating the pressure via a lever, for those ‘passionate home baristas who see coffee-making as both a craft and a ritual’.

The Elizabeth3’s dual-boiler system enables you to brew and steam simultaneously. Both models come in classic stainless steel as well as white and black finishes and feature real wood controls as well as integrated LED lighting. The Italian company was founded in 1986 and specialises in prosumer coffee machines, all of which are manufactured in-house.

Lelit Victoria3, available in stainless steel, black and white, from £999.95, Lelit.com
Lelit Elizabeth3, available in stainless steel, black and white, from £1,499.95, Lelit.com

Lavazza Tablì

Marking a rare departure from coffee-making orthodoxy, Lavazza’s new Tablì system introduces the brand’s first coffee ‘tablet’ system. Each single-serve unit is 100 per cent formed from coffee, with ultra-compacted grounds used to create a coating-free coffee tab, which can be disposed of in food waste systems.

On top of this innovation, which reduces excessive packaging, Lavazza is introducing a special ‘Crema Plus’ technology to replicate the flavour and feel of authentic coffee. The Tablì machine itself is more organic and less traditional in appearance, with a more futuristic form – the technically minded will be delighted to discover that it is WiFI enabled and compatible with Alexa and Google Home.

Lavazza Tablì, available in Sand White, Graphite Black and Walnut Brown, £199, Lavazza.co.uk, JohnLewis.com

The Brewer by SimplyGoodCoffee

SimplyGoodCoffee has updated its iconic Brewer filter coffee machine with the addition of a programmable timer system. The eight-cup coffee maker is already completely plastic-free, with a borosilicate glass carafe and water pipe, combined with silicone and stainless steel.

Other upgrades include a more efficient heater and the timer system, which allows you to have a fresh cup of coffee scheduled and waiting in the morning. Capable of brewing up to eight cups in just six minutes, The Brewer can also be operated with a push of a button, favouring simplicity and functionalism over complex rituals.

The Brewer, $399.99, SimplyGoodCoffee.com

Caraway Home Coffee Maker

Kitchenware company Caraway’s debut home appliance is the new Caraway Coffee Maker, a ten-cup capacity brewer that adopts clean lines and a minimal footprint. Available in Cream, Stone-grey, Midnight-blue and Clay-red, Caraway’s offering strips back the control surfaces to a single dial with a plastic-free brewing path and full dishwasher compatibility.

Caraway Coffee Maker, $495, CarawayHome.com

Aarke Coffee Maker

Aarke’s Coffee Maker is now available in a new Matte White colourway, a choice partly inspired by the 2026 Pantone Colour of the Year, Cloud Dancer. Sold through Williams-Sonoma and Aarke’s own website (not yet on the UK site, which currently has existing colours only), the machine includes an integrated hot plate, up to ten-cup capacity, an illuminated water tank and solid stainless-steel construction. The new hue joins the raw steel, Matte Black and Sand colours.

Aarke Coffee Maker in Matte White, $320, Aarke.us, Williams-Sonoma.com
In the UK, existing colours are available at uk.aarke.com

Loewe aura.matic

Following on from the aura.pure, Loewe is broadening its home selection with the new, ultra high-end aura.matic automatic coffee machine (coming soon). While the aura.pure (£1,999) is a professional-grade home espresso machine, the aura.matic provides a truly automated bean-to-cup system, with twin grinders to keep two different bean varieties (or regular and decaf) on the go at once.

The onboard system offers 18 different specialty coffees, all of which can be tweaked to taste via the seven-inch touch display. In addition, there’s a dedicated Loewe aura.matic app that opens up the possibility of remote preparation. An integrated milk system and automatic cup detection keep mess to a minimum, while the device itself follows Loewe’s rigorously architectural design approach, with a wooden frame combined with aluminium and a glass front panel.

Loewe aura.matic, £5,000/€5,000, Loewe.tv

Grown up tech is becoming more infantalised, thanks to AI's ability to transcend traditional skill sets. For example, Meta’s decision to imbue the design and delivery of its new Muse Charm pocket AI device with child-friendly avatars is an 'interesting' decision at a time when tech’s relationship with childhood is under more scrutiny than ever before.

Should kids get ahead with tech or should the online world be off limits until they’re able to better process the pitfalls and dark alleys of the digital world? These gadgets want to serve as introductions and solutions to complex modern problems.

YAPA Phone

The new YAPA phone solves the screen time argument by doing away with the seductive charms of an OLED display and stepping back in time to something a little more fundamental. Described as the ‘UK’s first home phone designed for kids,’ YAPA is pitched at 5-14 year olds and intended solely as a way to connect with friends without opening up the realm of social media.

Designed by product design consultancy Aetha, the YAPA’s aesthetic is certainly designed to tickle the nostalgia buds of parents, with its chunky keys, bold colours and traditional coiled cord. It’s toy-like, yet fully functional, thanks to a WiFi-driven operating system that puts parents in control (via an app), allowing contacts and call time to be monitored.

According to Aetha’s Tom Parsons, YAPA is ‘built around what children actually need to communicate with family and friends, and what a parent needs to trust a device. We didn't want to make another toy, or a scaled-down smartphone, we wanted an object with real material quality, that a child is proud of, happy to see on the kitchen counter and excited to tell their friends they use.’

YAPA Phone, pre-sale orders from £99.99 via YapaClub.com, @YAPA.Phone

AethaDesign.com, @Aetha.Design

Nex Playground

Already a trusted brand in this space, the Playground games console from Nex has been around for a few years, allowing its eco-system to grow and evolve. An ultra-compact device with a playful, pastel-coded form factor, the little console has a focus on activity, collaboration and co-operation.

Nex arrives with five games, while a Play Pass subscription unlocks over seventy more, with constant updates over the year. The primary means of interaction is via a motion sensor on the box, one which makes dynamic action games the focus, for both one and two players.

Slice through citrus cascades with the evergreen Fruit Ninja, play a variety of sports from basketball to archery, dance, keep fit and engage with licensed content from the likes of Barbie, Sesame Street and Dreamworks.

It’s an intuitive set-up, similar in spirit to the old Kinect system for the Xbox and even Sky Glass’s Sky Live system (both now discontinued). Bright, colourful graphics and smooth animations naturally draw in young eyes, while the system also has an integral camera cover and only keeps motion-tracking data on the device.

Nex Playground, £215, One-year Play Pass, £90, NexPlayground.com, @NexPlayground

Yoto Player

A tried and tested child-friendly device with legions of happy users, the Yoto Player was recently given a substantial design update. The classic Yoto Player and the compact Yoto Mini are a gateway to audio stories, daily podcasts and classic books, with a chunky, easy-to-manage form factor and an ultra-simple interface designed for engagement not obsession.

Yoto Player 4th Gen, £119.99, UK.YotoPlay.com, Yoto Mini 4th Gen, £89.99, UK.YotoPlay.com, @YotoPlay

Karri Messenger 2

Another entrant into the safe communications category, the Karri Messenger 2 is a modern update of the traditional walkie-talkie. The latter was a much-coveted gadget for younger Gen Xers, even if very few children actually had access to real, functional units. The Messenger 2 doesn’t actually enable real-time talk but serves instead as a voice messaging service with a rudimentary screen for accessing the (parentally approved) contact list.

The company suggests the device is best used as a way of keeping in touch with your kid, including a GPS tracker and SOS alerts in the limited function set. There’s also a helpful torch, splash and drop resistance and two days of battery life. You can of course leave a message with another Karri, but most adult interaction will be through the app. A subscription service is required to enable mobile network access, although the compact, colourful device also works on WiFi.

Karri Messenger 2, £89.99, Karri.io, @Karri_io

Polaroid Go (Gen 3)

A firm favourite amongst adults and children alike, Polaroid’s smallest instant camera, the Go, is well suited to small hands. Colourful, creative, and compact, the third generation of the Go uses Polaroid’s Go film to produce dainty, pocketable pictures. A powerful flash and inbuilt ‘selfie mirror’ add to the Go’s charms.

Polaroid Go Instant Camera Generation 3, £79.99, Polaroid.com, @Polaroid

Loog Piano

Loog specialises in making small guitars for small hands, teaming up with established brands like Fender and Gibson to shrink familiar instruments down to a more wieldable size. The new Loog Piano follows the same playbook, shrinking the size but not the capability. In addition to pro-grade piano sounds, there are velocity sensitive keys, in-built speakers and battery and an accompanying learning app.

On top of all this, the Loog Piano offers MIDI over USB, so it can be used as controller, further adding to the longevity and practicality of an instrument that’ll grow with your child.

Loog Piano, €269, LoogGuitars.com, @LoogGuitars

Freckle Phone

Designed to evoke the spirit of an old-school walkie-talkie, with parental safeguards baked in, the upcoming Freckle phone wants kids to have their cake and eat it – wandering off into the wilderness yet also discretely tracked every step of the way. The company’s own ClayOS is underpinned by the inevitable AI; as well as allowing parents to set challenges and treasure hunts it also provides AI-driven explications and descriptions.

The Freckle Phone also highlights the inherent contradictions involved in child-specific technology. In the quest to go back to an untrammelled, open world childhood, gadgets like this inadvertently introduce a layer of AI and tech dependence that feels contrary to the lost authenticity and simplicity.

Freckle Phone, pre-order details at Freckle.tech, @Frecklehq

Audio-Technica’s turntable range runs the gamut from portable and playful through to heavyweight audiophile machines like the fully manual AT-LPA2.

This one, however, sits firmly in the middle. A new edition of the popular AT-LP60XBT fully automatic wireless belt-drive turntable offered in a vibrant shade of teal, Audio-Technica is part of an emerging trend in audio design to avoid the sober whites, blacks, greys and silvers that still dominate the sector.

The AT-LP60XBT is a fine initiation the vinyl novice. In addition to conventional wired speaker connectivity, it’s from the new breed of turntables that offer hi-fidelity audio over Bluetooth, allowing you to pipe vinyl into a portable speaker or headphones. It’s the kind of convenience that – paradoxically – is prized by the very people seeking out vinyl for its historic, analogue and frictive qualities.

Aside from the vivid hue, everything else is pretty much as you’d expect – twin speeds for singles and LPs, a belt-drive motor and Audio-Technica's own integral Dual Moving Magnet cartridge. It might not offer the most acoustically accurate listening experience, but for a colourful start to a vinyl journey, the AT-LP60XBTTL deserves serious consideration.

Audio Technica can date its history back to 1962 in Japan, when the company was established by Hideo Matsushita, an employee at Tokyo’s Bridgestone Museum of Art. Today the company combines a burgeoning range of affordable and high-end home audio with PA and broadcast systems designed for commercial applications.

Audio-Technica AT-LP60XBTTL, £179 / €199, Audio-Technica.com, @AudioTechnicaEMEA

A gazetteer of contemporary videogame architecture, a walk through the arcades of yesteryear and the story of how a humble 8-bit computer helped change the computing landscape of a whole country are the subjects of these three new books.

Videogame Architecture

Back in 2024, Thames & Hudson published the Videogame Atlas, one of the first monographs to explore the new digital realms of gaming in a more in-depth, scholarly fashion. Now the company is publishing Videogame Architecture, a new tome from the same team that wants to do the same for the genre’s more fantastical cities and structures.

Arranged as a series of chapters covering some of the key video game releases of the past two decades, including Bioshock, Half-Life 2 and Disco Elysium and many more. To the initiated, these are games characterised by their environments – towering future cities, run-down dystopias or cyberpunk visions.

Videogame Architecture traces the origins and reference material used for all these titles and more, exploring the ways in which architectural form and detail is used to build atmosphere and place, as well as a sense of solidity and realism.

Videogame Architecture: Building Virtual Spaces, Luke Caspar Pearson, Sandra Youkhana, $65, Thames & Hudson, ThamesandHudsonUSA.com, @ThamesandHudson

The Arcade 1971–1999

Subtitled The Stories Behind Classic Coin-Ops, Told by Their Creators, Paul Drury’s new monograph delves into the industry’s rich history and even richer mythology, back when arcade games could still be the creation of a single person not a vast team, and art direction relied on graph paper and felt tip pens.

Published by Bitmap Books, which has made itself a key player in the niche world of video game history and art, The Arcade looks at the first three decades of digital game design, starting with the realm of the arcade and finishing up with the home computer, covering 120 titles in all. With over 400 pages of imagery, interviews and insights, it’s a dive back into a world when pixels could still be trusted.

The Arcade 1971-1999, Paul Drury, £34.99 / $48.00 / €41.95, Bitmap Books, BitmapBooks.com, @BitmapBooks

The Rubber-Keyed Wonder

Another exercise in 8-bit nostalgia, The Rubber-Keyed Wonder tells the story of one very specific early home computer, the Sinclair ZX Spectrum. Currently in the planning stage and seeking nostalgia-filled gamers to help Kickstart the project, the plan is for this 200+ page history of Sir Clive Sinclair’s influential machine to appear next year in time for its 45th anniversary.

The computer itself birthed a thriving scene of gaming and programming, with aficionados still creating content for it right up to the present day. Sold around the world, illegally cloned behind the Iron Curtain, and many people’s first encounter with any kind of computer, the Spectrum was a cultural phenomenon. It’s even being re-booted as the ZX Spectrum Next.

The Rubber-Keyed Wonder: The Sinclair ZX Spectrum Story Official Companion Book, support at Kickstarter.com, Golden-Slumbers.co.uk

We’ve assembled seven new options for over-ear headphones, ranging from the latest releases and updates from familiar names to a high-fashion collaboration and a fresh flagship from a fast-rising cult favourite.

Nothing Headphone (1) Pro

First up, the new Headphone (1) Pro from Nothing. Taking the resolutely rectangular form of the acclaimed Headphone (1) and Headphone (a) and giving the internals and carry case a glow up, the Headphone (1) Pro is the company’s new flagship audio device.

Featuring no less than three drivers for hi-res audio listening over wired and wireless connections, the Headphone (1) Pro comes in black and white (perhaps to bolster its serious audiophile image over the more playful pastels of its cheaper siblings). The noise cancelling system is driving by no less than ten microphones and works with a silicone baffle on the earpads for complete sonic isolation.

The Headphone (1) Pro also features Dynamic Spatial Audio with head-tracking and has pro audio features like ‘Flat EQ’, designed to create a completely neutral sound profile for mixing audio. Made from machined aluminium, the headphones come with a hardshell case.

Headphone (1) Pro, £349, Nothing.Tech, @Nothing

Thom Browne x Bose

Designer Thom Browne has teamed up with Bose for create a limited-edition set of Bose Quietcomfort Ultra headphones. Taking Browne’s ultra-distinctive fashion uniform as the baseline – a grey flannel wool suit with a distinctive four bar branding and Bemberg lining, the QC Ultra headphones are given their own rich materiality.

Cashmere covers the headband and removable ear cushions, while the four branding is used on the exterior of the earcups, with the signature white, red, white, blue and white stripe on the inside. This pattern is also inside the cashmere carry case. The headphones feature wired and wireless connectivity and Bose’s pioneering noise cancelling technology.

Bose x Thom Browne QuietComfort Ultra Headphones, £760, Bose.co.uk, @Bose

Sony WH-1000XM4C

The latest upgrade to Sony’s headphone portfolio is the WH-1000XM4C, a pair of lightweight, all-purpose wireless ANC headphones that are available in Platinum Silver, Lavender and Black.

Weighing in at just 253g, the Sony headphones also have 27 hours of listening time and added equalisation functions through the Sony Connect app.

Sony WH-1000XM4C, £219, Sony.co.uk

Technics EAH-A1000

The new flagship model from Technics are the EAH-A1000 headphones. Launched late last month, the new over-ear wireless headphones include a new 40mm driver and the company’s latest generation noise cancellation system. The larger driver, which incorporates a carbon fibre diaphragm, adds scale and power without distortion, using a layer of magnetic fluid to suppress unwanted vibrations.

A new visual language incorporates metal construction in the support arms and top panels, with Technics’ signature circular machining patterns left visible. They’re available in Black and Platinum Greige, a newly announced colourway that Technics clearly feels it can elevate it from its bland connotations. There’s nothing greige about the sound, which includes high-res audio, up to 45 hours of playback and multipoint connectivity across three devices.

Technics EAH-A1000, price tbc, available soon from Technics.com

FiiO FT15 planar headphones

FiiO’s new FT15 wired headphones uses planar technology, which feature a thin flexible film diaphragm to create large planar drivers. Thinner film technology is paired with a richer materiality, with natural black walnut earcups and bundled high-quality audio cables.

The headband is formed from carbon fibre, keeping the weight down as much as possible for long listening sessions.

FiiO FT15, £499, FiiO.com, @FiiOofficial

Audio-Technica ATH-AL5NC

The new ATH-AL5NC headphones are Audio-Technica’s first ever wireless open-back headphones, with a distinctive mesh back design that lets the audio source breathe and creates a more open, richer sound field.

Best suited to home applications like music, cinema and gaming, the ATH-AL5NC offer wired and wireless listening options. The latter brings with it an impressive 75-hour battery life.

Audio-Technica ATH-AL5NC, £219, Audio-Technica.com, @AudioTechnicaEMEA

Philips Fidelio L5

The new Fidelio L5 from Philips offer an affordable and distinctive pair of over-ear wireless headphones for hose looking for no-nonsense simplicity. Sixty hours of battery life, high-res audio and Bluetooth 6.0 are combined into a handsome package with folding arms for convenience.

The new ANC system includes a leakage detection mode that can tell when the seal between your ears and earcups isn’t quite perfectly aligned and adapts the filter to match. Controls are touch sensitive, not physical, which some will love and others not, while Philips also highlights the use of recycled plastic and cardboard in the device and its packaging.

Philips Fidelio L5, £179.99, Philips.co.uk, @Philips.Sound

The newest product from Polaroid is the Mod, further refining and deepening the rebooted company’s relationship with instant analogue film and its long association with the creative classes.

Up until now, Polaroid’s modern era of cameras (like this summer’s Go Generation 3) has been pitched at the intersection of point-and-shoot convenience and love of tangible physical media. Mod retains the analogue form factor that has been part of the Polaroid ethos since the original 1972 SX-70 camera and which has been thoroughly revitalised under the brand’s new ownership.

More importantly, the Mod offers a freshly flexible approach to instant photography, adding to genre’s rich colours and inevitable unpredictability with four dedicated creative modes to dial in. These include Split Shot, which puts two separate exposures on one photo, a motion freeze function that uses the flash to fill in a crisp image atop a backdrop of motion as well as a double exposure function.

Finally, there’s a Light Painting mode, or as a photographer would say, a long exposure. Couple these functions with the immediacy of the Polaroid system and you have instant art; in the company’s own words, ‘spend the day creating shots that would take AI one minute’.

Polaroid’s original USP as the only way of achieving instant imagery hasn’t been relevant for decades, so the company is doubling down on its heritage and its unique ability to turn a moment in time into a single, tangible, physical object. A Polaroid is a precious thing, especially in what the company is quick to call ‘a world chasing speed and pixel-perfect results’.

‘Mod encourages photographers to slow down, experiment and embrace the curiosity, play and unpredictability that make analogue photography unique,’ the company says. Stine Bauer Dahlberg, chief product officer at Polaroid, describes Mod as having ‘creative experiences built into the physical design of the camera. That’s why the four shooting modes sit directly on the dial rather than behind menus or settings… A lot of the engineering work went into making each mode intuitive to use while still giving you room to play with the result. We wanted the camera itself to encourage you to try something different every time you pick it up.’

Polaroid Mod, available now from Polaroid.com, @Polaroid

Where do you want AI to be? Out of sight, out of mind, baked into your phone, laptop or other smart device, or as a discrete, characterful physical object that you pop in a pocket, around your neck, on your face or in your ear? Leaving aside the fact that many people don’t want AI to be anywhere near them, it’s clear that the latter category is gaining some traction.

Welcome to the fast-expanding world of secondary AI devices, as if we didn’t have enough to worry about. These AI-enabled devices sit betwixt common categories like earbuds, voice recorders and smartphones and bill themselves as seamless agentic bridges that join the digital dots between our connected lifestyles.

These objects are designed to operate largely independently of a smartphone, offering help with recording, translating, note taking and agentic back and forth with other systems.

We’ve used and applauded the Plaud Note Pro, and struggled a little with InnAIO’s T9 AI Translator and the Buttons Clip AI earbuds, but these are discrete objects with a singular purpose – transcription and translation – that don’t have virtual tentacles reaching across all their devices.

Right now, it’s only AI adopters who have really embedded the technology into their workflow have taken these devices to heart. Fans of pocketable AIs like the newly updated Rabbit R1 need to well-versed in systems architecture, tips, tricks and general tech savviness.

Could a more consumer-focused device be on the way? The imminent arrival of OpenAI's much vaunted, LoveFrom-designed magic thingmajig certainly has the potential to upend things, whilst Meta is also attempting to get ahead of the game with the announcement of a physical pendant for its new Muse assistant.

There’s also the danger that all these devices are already redundant. After all, most of us carry a perfectly competent pocket computer with us at all times. Over the decades, smartphones have gobbled up every conceivable pocketable item and compressed their functionality into their form factor – camera, wallet, watch, alarm clock, Dictaphone, music player, TV, book, etc., etc. Do we really need another device to help us through the day?

Cheerleaders for discrete AI devices suggest they’ll help cut the cord of smartphone addiction and make us all more present and involved. Perhaps. First all they must push past the ick created by privacy-agnostic smart glasses and really prove their worth. Come with us into the world of AI smart devices, a smorgasbord of unfamiliar brand names, along with promised feats of technical wizardry and labour saving.

Comu Action Pro

First up, the Comulytic Comu Action Pro, an AI-powered recording and notetaking device that is looking to be in the same space as the Plaud Note Pro. Substantially cheaper, it comes with an added tier of operations that goes beyond the ‘simple’ transcription of meetings, calls and interviews, and digs deeper into your system to spark follow-up conversations and actions.

Both the Action Pro and its entry-level sibling, the Comu Note Pro, take the same credit-card form factor as the Plaud. Both are claimed to be fluent in 113 languages (with real time transcription and translation), with the Pro offering over 60 hours of recording time through its six-microphone array.

In practice, the Action Pro’s transcription abilities aren’t quite as polished as Plaud’s, but it’s the follow-up actions that could make all the difference. Capable of turning meetings into slideshows and annotated documents at the touch of a button, the Note Pro walks a fine line between AI executive assistant and busywork builder.

Comu Action Pro is available from Store.Comu.com and Amazon.co.uk

Muse from Meta and Ray-Ban Meta Audio glasses

Where would a round-up of AI devices be without Meta? The totemic and highly divisive company offered a look at what’s coming next at this month’s Meta Connect 2026 event to bring more AI-powered Meta Glasses into the fray, along with a physical form for its new personal AI agent, Muse.

In addition to making Meta Ray-Ban Display more widely available – these are the glasses with an onboard screen viewable only to the wearer – Meta also announced the Ray-Ban Meta Audio glasses. Cynics might say this is a clever pushback against the bad press afforded the camera-equipped, privacy invading Meta glasses, offering onboard access to Meta AI – via chat – and enhanced audio quality. Lighter, slimmer and with more colour options across two styles, Clubmaster and Burbank.

With all that said, Meta is still deeply committed to its regular smart glasses, launching generation 3 of the world’s bestselling AI glasses, Ray-Ban Meta, along with new styles for the regular Meta Glasses, effectively flooding the zone with stylistic options for frames, along with high profile collaborations with LISA and Kylie Jenner (her again). There was also the announcement of Meta’s new VR Glasses, due next year, but that’s more of an immersive entertainment device as much as a spatial computer.

Aside from all the eyewear, the key announcement was a physical format for the Muse AI assistant, Muse Charm. Resembling an adult Tamagotchi, replete with very un-adult animations, it’s a pocketable object that makes the act of chatting to Muse more tangible. Designed by the company’s in-house team led by former Apple man Alan Dye, Muse is US-only right now, and the Charm won’t be ready for a few more months, when you’ll also be able to use it via Meta Glasses.

Like many of the AI-enabled objects featured here, there’s a deceptive and tonally awkward disconnect between the power and scope of Muse and the kawaii-adjacent look and feel of the Charm. The animations look and feel very Pixar and Dreamworks adjacent, the buttery smooth CGI that has been utterly co-opted and hollowed out by generative AI.

Aesthetics aside, will we learn to love chatting openly with our new pocket friends? Meta seems happy to cop all the flack and push through ‘innovation’ with nary a thought about secondary consequences. You might have forgotten about the Metaverse, but Zuckerberg and co are still spending big to make AI happen and more.

Ray-Ban Meta Audio glasses, coming soon, £319, Meta.com
Ray-Ban Meta (Gen 3), from £409, Meta.com
AI.Meta.com/Muse

Rabbit R1 with OS3

The new OS3 from Rabbit is an ‘agentic operating system’, one that’s operating through prompts, either via typing, text messages or talking into the R1 handheld device. This pivot to a standalone OS could give the maligned but cultish R1 a second life.

Launched perhaps ahead of time, with too much focus on form rather than function, the R1 was originally dismissed as a halfway house without much purpose. With OS3, the R1 becomes a controller for the web workspace, a remote controller through which you can direct, stop, start and create ‘skills’.

On its own, the R1 (shaped by Teenage Engineering, no less) still functions as an AI voice recorder and notetaker, with an onboard camera, microphone and scroll wheel interface. Aimed at tech-savvy, vibe-coding developers who like the retro aesthetic and community-minded approach, the R1 is the original pocket companion for the AI curious.

Rabbit R1, $199, Rabbit.Tech, @rabbit

Violoop

Sitting somewhere between the Charm and the R1 is the forthcoming Violoop, currently undergoing a successful Kickstarter campaign. Resembling a levelled-up alarm clock, Violoop is a desktop AI companion that connects directly to your PC and introduces a seamless agentic workflow. In practice, that means having a context-aware digital assistant that prepares responses and information without waiting for a conventional prompt.

The makers describe it as a ‘second AI user’, one that transform an older computer into a smarter device without sharing data beyond the Violoop itself. However, like so many AI assistants, the predicted workflows – organising calendar invites, summarising meetings and executing actions – are very business orientated, targeted at a format and corporate structure that already feels out of date.

It’s hard to determine whether any take-up in such agentic AIs will hasten the demise of the culture of spreadsheets, meetings, KPIs and action points or simply cement it into place for generations to come.

Violoop.ai, Kickstarter.com

Elehear Beyond 2 Pro

Beyond 2 Pro from Elehear offers a much more succinct and straightforward use of AI power. These are what used to be called hearing aids, rebranded and massively enhanced for the AI generation. Using Elehear’s own sound-processing algorithm, the Beyond Pro 2 are designed to cut through background noise and pick-out and amplify conversations.

Working hand in hand with a team of licensed audiologists, Elehear’s technology is something many high-end earbuds will offer in the future – the ability to isolate certain sounds and tune out the background noise. The entire system is available over the counter and designed to be worn discretely behind the ear. In addition to boosting hearing abilities, they also offer audio playback and realtime translation.

Elehear Beyond 2 Pro, $799, Elehear.com

Viaim Rise

Another entry in the real-time AI translation genre, the new Rise earbuds from Viaim promise 78 language fluency in addition to being able to capture calls and conversations. The latter don’t just sit as recordings, but they can be turned into action points via the usual highfalutin promises attached to such devices. In the Rise’s case, this means direct access to key players like ChatGPT, Claude and Gemini.

There’s no denying the quality of the audio hardware (3D spatial audio, three microphones for voice and environmental capture, etc.), but your mileage is yet again predicated on existing workflows and whether or not you’re happy and willing to let a distant tech behemoth have access to your day-to-day thoughts, calendar and career aspirations.

Viaim Rise earbuds, available via Indiegogo.com, Viaim.ai

Relay Q

Another AI-native hardware project, this time in the form of a compact, sleek microphone-style device that is positioning itself as the ‘future of input’. Voice control is second nature to many of us, particularly in cars and when using the first wave of smart devices like Alexa, Siri and Google Assistant. All of these services are constantly evolving, but Relay’s new Q device is an ‘active input object’, not a disembodied ear hovering in the background waiting for a wake word.

Relay Q is designed to be ‘something you intentionally reach for at the moment a thought happens, much like reaching for a mouse or beginning to type,’ according to industrial designer Aaron Yan, founding Design Partner at Relay and former Nothing designer.

Intention and context are key, just like the Dictaphone of old, with a microphone array designed to capture whispers as well as meetings, with a detachable tip that can double up as a lapel mic. The software back-up is driven by Gemini and ultimately a subscription will be required to make the most of all its functions.

Relay Q, available in January 2027, Relay.tech, @Relay.Tech.HQ

Boya Notra Neo

An AI notetaker without the fuss, the new Boya Notra Neo follows the path of Plaud and Comu, cramming high-quality 360-degree microphones into a discrete and compact package. Capable of clipping magnetically to the back of your phone, the Notra Neo can record phone calls and via Bluetooth as well as over its ambient microphones and follows the familiar playbook of building up an archive of searchable transcripts, translation and queries.

Less serious-looking than its peers, it’s pitched at students and those who need everyday record-keeping, with the added caveat of being a prominent, neat device that can sit on a table and record without being unduly sneaky. There’s 64GB on onboard storage, four colours (Black, Silver, Cosmic Orange, and Purple) and the inevitable subscription scheme for power users.

Boya Notra Neo, £79.09, Store.Boyamic.com

UK-based tech firm Gomi set out a firm ethos right from its earliest days, foregrounding sustainable sourcing and the right to repair. The Brighton company’s range of Bluetooth speakers, powerbanks and wireless chargers all have a modular construction, so easy repair is prioritised. In addition to reusing e-bike batteries, Gomi’s products are easily discernible thanks to their swirling, polychromatic, unique casings, proudly formed from recycled plastics and resembling miniature canvases.

Now there’s another source of plastic in the mix. The company has launched a new 'Childhood Memories Collection’, with materials taken from recycled Barbie dolls and their myriad accessories. The plastic figures will now find a second life in Gomi’s limited-edition range of handmade speakers, power banks and tracker tags.

According to Gomi co-founder Tom Meades, the project emerged out of a desire to make waste material more meaningful and relatable. ‘We’re ending boring grey consumer tech, and instead creating colourful interesting objects made from waste materials that tell a story,’ Meades explains. ‘In making the latest Childhood Memories Collection, we’re asking the public to send us their Barbie dolls, to melt down, and recycle parts of these materials into Gomi power banks, tracker tags and speakers – all designed to last a lifetime.’

Each month, Gomi plans to take the expected deluge of donated dolls and splice them with its plastic supply to create a series of unique and distinctive pieces of consumer electronics that are struck through with remnants of Barbie’s brightly coloured world – perhaps there’ll even be a Barbie phone or two?

To accommodate Mattel’s favourite lady, Gomi had to make some adjustments to its production process. Barbie, Ken and friends will be blended with plastic-bag waste (not commonly accepted through the UK’s household recycling systems) and resurface as second-use, repairable products that will hopefully retain some spark and colour, whilst also demonstrating to a young audience ‘how familiar objects can be thoughtfully reimagined through circular design’.

According to Gomi, ‘this very deliberate combination of nostalgia, creativity and product innovation [will] encourage conversations about keeping materials in use for longer and considering what can come next for products at the end of their original life’.

More details of the Childhood Memories Collection at gomi.design, @gomidesign

When one thinks of Roberts radios, the immediate association is with a traditional form factor, a device intended to sit on a nightstand or kitchen counter, near permanently tuned to something warm and inviting. It’s the reason why Roberts carries a Royal Warrant for King Charles III (having originally been granted one for his mother back in 1955).

Browse RobertsRadio.com however, and you’ll experience the huge scope of products, from speakers and turntables, through to modern updates of classic form factors like the Revival and Rambler.

Now there’s an even newer model in town, the Roberts Revere. This family of three all-in-one audio solutions is being launched to tackle one of the missing links in the line-up, the compact disc player, providing a high-quality, room-filling sound machine that covers all bases.

Available in three sizes, 100, 300 and 500, the Revere eschews the usual colourful Roberts spread in favour of a simple stripped-back black lozenge, made from wood with a black leathercloth finish. All have top mounted controls, a front colour LCD display and forward and rear-facing speakers.

The simplest model is the Revere 100, which comes with the broadcasting triumvirate of DAB+/DAB/FM radio along with Bluetooth speaker capability. Two 2.25-inch full-range drivers are combined with a 5.25-inch passive bass radiator.

The Revere 300 is where things get more interesting. This model adds a CD player, together with USB device playback and the ability to charge a smartphone, along with a remote control and all the features of the 100. The speaker system includes two 3-inch full-range drivers with ported bass.

The new flagship is the Revere 500, which takes the 300’s functionality and adds in internet radio and podcasts, along with support for hi-res Spotify Connect, and Deezer, as well as control through a dedicated app and the ability to shape the sound profile depending on the placement of the device. The speaker systems includes two 2.5-inch full-range drivers along with two 3.5inch woofers.

According to Roberts CEO Owen Watters, ‘the Revere collection continues our sound-system legacy for Roberts. We have been lucky to have successful sound-system models such as the MP and Blutune series to establish our presence in this category, but Revere is a clear step-up’.

The CD revival is gathering pace, although it might never reach the heights of the renewed fascination with vinyl. With that said, CD sales are up ten per cent year on year in the UK, and Roberts cites stats from John Lewis (one of their key retailers) that show searches for CD players have increased by 96 per cent in the last few months.

‘The Revere range caters for all sizes and aspects of technology and has been crafted with our audience in mind, from slotting into the bookshelf to full-blown hosting in an open-plan area,’ Watters continues. ‘Our Roberts heritage has been visually preserved in each system, leveraging iconic design elements from the Revival family but doing this sympathetically and sensitively.’

The trio preserve the Roberts ethos whilst also adding something new (the CD component), and Watters notes that the welcome solidity of its classic radios has been carried through to the Revere models. ‘The tactile element of owning a Roberts has been preserved by the notable weight of the product, while packing the warm, rich, signature Roberts sound,’ he says, ‘We’re incredibly proud of the Revere series, and we hope Roberts fans will be even prouder.’

Roberts Revere 100, £249.99, Revere 300, £399.99, Revere 500, £599.99, RobertsRadio.com, @RobertsRadio

The temptation to describe Horl’s scissors as ‘a cut above’ has the gravitational pull of a black hole, but let’s not succumb to easy cliché and instead consider why these German masters of the cutting arts are so successful.

Horl is a small company punching way above its weight. Based in Freiburg in the Black Forest, the company was founded in 2016 by Otmar Horl and his son Timo. Today, the company’s MD is the newly installed Heiko Stahl, a longstanding major player at Vitra, who works alongside Timo Horl.

The company ethos has always been to make utensils that last, alongside the tools and knowhow to ensure a high-quality product stays useful for as long as possible. Horl scissors are admittedly pricey, but it’s the attention to detail that makes it possible to keep them in fine fettle. Whether they’re for use in the kitchen, crafts, or fashion, Horl reckons these scissors can slice through over 100 different materials.

The key point of difference is the spring-loaded quick release that enables the two blades to be easily separated for individual sharpening. With this simple movement – open the scissors wide and add a little bit of extra pressure and they pop apart – the blades can be brought back to as-new condition via the use of Horl’s own suite of sharpeners, the entry-level 3 Cruise, the 3, and the 3 Pro.

The last includes a planetary gear set to speed up the grind, and costs £399, while the 3 Cruise has a recycled plastic case and fixed blades. The mid-range 3 is the sweet spot, with exchangeable sharpening discs and the choice of a walnut or oak finish. All come with a sharpening support with two angled ends for a choice of sharpness (the 3 Pro offers six grinding angles).

The rolling sharpening process is achieved by sandwiching the blade between the support and the sharpener and then grinding until you’ve achieved the edge you desire. The company also supplies whetstones and strops in addition to its sharpener tool. For the edge-obsessive, there’s even a Horl-branded magnifier for a close-up look at the cutting edge, providing visual confirmation of its sharpness. These are tools for the professional (and the obsessive), and the Horl website contains plenty of information about different techniques for sharpening and knife care.

We're invariably asked for best of the best selections in a particular category, from cars to smartphones. When it comes to purely analogue objects, you should be looking at a service life of decades, rather than years. The scissors themselves have a welcome weight and balance, along with a carefully shaped form that lets the individual blades sit at the right angle for sharpening.

While the price of entry is high, Horl’s penchant for quality and ease of maintenance make them an easy choice for lovers of quality but occasional consumption.

Horl.com, @Horl1993

Premium quality is the new everyday and over-ear headphones are the new earbuds. That seems to be the logic behind the launch of the newest pair of headphones from Beats, Apple’s younger, hipper audio sub-brand. The new Beats 360 are flagship headphones with flexible design, high levels of durability and ultra-light wearability, pitched at a generation who want all-round comfort and immersive sound, whether walking to work, taking a gym class or simply lounging around to listen to sounds.

Part of the appeal of Beats – founded by musician Dr. Dre and record industry impresario Jimmy Iovine in 2006 – is that it has managed to bring headphones back into the heart of pop culture. The pro-grade Beats Studio model was launched in 2008, with the Gen 2 version following in 2013. The next year, Beats made headlines by becoming Apple’s largest ever purchase – the company was acquired for $3.2bn.

The current product is the flagship Studio Pro, but Beats 360 will now take the crown, doubling down on the increasing popularity of over-ear headphones in places like the gym and jogging track. The design has been directly inspired by the colours, materials and forms of athletic footwear, seen in the lightweight, layered and breathable material of the cushions, as well as a sporting palette of colours.

Overall, Beats 360 are 30 per cent lighter than Studio Pro. The new design also uses 80 per cent recycled plastic and 100 per cent recycled rare earth elements in the magnets, as well as 100 per cent recycled packaging.

In addition to the durability of this new Performance Knit (featuring 36 micro-threads woven into a diamond pattern) that swathes the memory foam cushions, the material is also breathable as well as water- and sweat-resistant (with an IPX4 rating).

Six colours are available, Black, Cloud, Pink, Sky, Navy, and Volt, and crucially, the cushions are fully swappable. Not only does this mean they can be washed, but myriad colour combos can be constructed depending on your mood.

The six Performance Knit colours are joined by two UltraPlush colours, Black and Cloud, that make the most of this soft engineered leather. That gives even more combinations of colour and headband.

To change the cushions, a simple slot fastening is deployed that also automatically adjusts the acoustics to the type of material used. Beats 360 has gone through Apple’s raft of reliability tests to create headphones that are as resilient as they are stylish.

Enhanced tech specs

‘Beats didn’t just participate in the rise of over-ear headphones – we helped define the category,’ says Oliver Schusser, Apple’s vice president of Music, Sports, and Beats, fresh from announcing the arrival of Apple Music Hall in London’s Battersea. ‘Beats 360 is the next chapter of that story. We combined our most advanced acoustic performance ever with a perfectly balanced design that moves effortlessly with you. And with our new interchangeable cushions, our customers can express themselves in a way no other over-ear headphone can.’

Tech specs include three-layer diaphragms and dual neodymium magnets in each driver for better bass delivery and less distortion, while those who want to truly escape into their music will appreciate Beats’ next generation adaptive Active Noise Cancelling system, said to be create 1.75x more total noise cancellation than Beats Studio Pro.

You’ll also find Personalized Spatial Audio on board, together with Dolby Atmos. The former is Apple’s proprietary spatial sound system and uses the Beats 360’s onboard built-in accelerometer and gyroscope in the left earcup to track your head movements to add a sense of depth and immersion in compatible audio. A total of nine microphones are scattered around the device to deliver ultra-clear call audio and feed the ANC system.

Beats 360 pairs swiftly with both Apple and Android systems via Bluetooth 5.3, while Apple users are naturally better catered for. In addition to Personalized Spatial Audio, the new headphones provide access to Siri, add spatial audio to FaceTime, and device location tracking.

Physical controls are placed on the back of each earcup – volume and play/pause on the right, power and listening mode on the left. Battery life is quoted at a maximum of 32 hours, while the USB-C charger can deliver one hour of playback in just five minutes of charging.

Beats has cannily seeded the 360 amongst a bunch of sports folk and sporty folk, with a campaign headed up by ubiquitous spokesperson Kendall Jenner. Marking yet another victory for the athleisurification of everyday life, Beats 360 look set to be popular choice amongst the perennially mobile.

Beats 360, £350 (introductory price £299.95), with Cushion Kits from £49.95 (introductory price £9.95), Beats Studio Pro is now £249.99, BeatsbyDre.com, @BeatsbyDre

It’s not everyday that a new laptop paradigm comes along. In fact, it rarely happens at all – you have to look back to the introduction of the original Chromebook back in June 2011 to find the last time an all-new operating system was launched and managed to stick around in the market.

Chromebooks, powered by Google’s ChromeOS and closely allied to the Android smartphone operating system, have slumped in recent years, overcome by cheaper, faster laptops such the Apple MacBook Neo and AI’s greater demand for processing power.

To counter this, Google is smooshing Android and ChromeOS even closer together than ever before, and launching the uprated and more sophisticated and flexible OS with a new kind of portable device, the Googlebook.

The company has form in hardware design – the original 2013 Chromebook Pixel was an elegant piece of kit, although it was probably sold at a loss to help grow the new OS’s footprint. However, to kick of the Googlebook era it has turned to five well-established laptop and Chromebook manufacturers.

Hence today’s debut of five new devices from HP, Dell, Acer, Asus and Lenovo. Each manufacturer has played to their strengths, offering a variety of screen sizes and differently functionality. The headline quote is Google’s decision to move from an operating system to what it’s calling an 'intelligence system', ramping up the integrating between phone and laptop and increasing the latter’s ability to run in parity with all but the fastest desktop devices.

To achieve this means new silicon, as well as uprated baseline specs and materials and finishes to help sugar the pill of a higher entry price. All five manufacturers have pulled out the stops to create flagship devices, with a baseline of 16GB Ram across the board, and the ability to specify up to 32GB. The silicon partners are Intel, Qualcomm and Mediatek and typical chipsets include the Intel Core Ultra Series 3 or Snapdragon X Elite processors.

You also won’t be hugely surprised to learn that the Googlebook squad are heavily integrated with Google’s AI suite. Describing new features as ones that are 'actually helpful,’ whilst also admitting that to date ‘no-one has really got it quite right’, the five are designed to work online and off with common toolsets and agents from the likes of Claude, Codex and Google Antigravity.

The greater integration starts at system level, with features like a smart search that allows you to find pictures by content, not just file names, and context-aware cursors and selections. Available materials include aluminium, magnesium and carbon fibre, with ultra bright LCD and OLED displays up to 2.8k resolution.

Up to six speakers with Dolby Atmos are on offer, although most models are light on USB-C ports. All Googlebooks have a large trackpad in common, offering haptic feedback and gesture support as well as a fingerprint sensor.

Backlit keyboards offer a new layout, with a 'G' key as opposed to a Command or Windows key. Another innovation is the return of the ‘glowbar’ on the front lid (originally seen on the Chromebook Pixel), a slender LED strip that can indicate battery charging as well as other status and notifications displays. Battery life should be around 14 hours plus.

For many users, the key USP is the Android inspired desktop set-up with direct access to all phone apps from the laptop, in addition to seamless hand-off between data and files and apps – the idea is you can literally move seamlessly from one device to the other, whether it’s browsing the web or using a specific app to pay for a service or find information.

The five new Googlebooks

Out of all track and field world records, the women’s outdoor 800 metres has remained uncontested the longest, thanks to the blazing time of 1:53:28 set by Czech middle-distance runner Jarmila Kratochvílová way back in 1983.

British track phenom Keely Hodgkinson is excruciatingly close. In February, she shattered the women’s indoor record. Then, in June, she clocked 1:54:33 in Stockholm – a British national record and the 6th-fastest women’s outdoor time in history.

Hodgkinson runs her final race of the season tonight at Athlos, a star-studded women’s-only track and field meet taking place at London’s StoneX Stadium. And while her dreams of being the 800 metre GOAT may be on hold due to injury, Hodgkinson is stepping up to the line in swiftness and style, thanks to a show-stopping custom Nike speed suit.

The fierce black ensemble features a full-length silhouette, an open back and a hood designed to make Hodgkinson as aerodynamic and unencumbered as possible as she flies around the track. Equally important though, according to Dan Farron, Nike’s vice president of innovation apparel product design, was the ability of the suit to make the Olympic champion feel powerful. ‘She has her own style and her own aesthetic. We cannot compromise that,’ he says.

Farron and his team began working with Hodgkinson on the one-of-a-kind uniform earlier this year. While Nike has designed plenty of bespoke speed suits (take Faith Kipyegon's knee-length kit worn during her attempt to run the world’s first sub-four minute women’s mile) the 800 metre – considered one of track’s most grueling events – presented a very different beast: ‘Is it sprint? Is it distance? It's a bit of both. Like, it's the last tipping point before we get into endurance,’ Farron says. ‘That as a challenge is incredibly exciting.’

The designers needed to develop a specialised kit that could strike the perfect balance between thermoregulation, speed, mobility and comfort. The Nike team, based on the company’s years of product engineering, research and testing, presented a radical hypothesis to Hodgkinson, Farron recalls: ‘We think we can make you faster if we cover more skin.’

Hodgkinson was all in.

Using a 3D scan, Nike was able to create a digital avatar of Hodgkinson’s body so that they could develop prototypes without the need for Hodgkinson to travel to Nike’s HQ in Beaverton, Oregon from her training facility in Manchester.

Nike incorporated a number of technical innovations to reduce drag. ‘Although it looks like one slick second skin, there are different materials in different zones,’ Fallon explains. The polyknit fabric, for instance, incorporates mini vortex generators – tiny, wing-shaped 3D protrusions across the fabric– to allow the athlete to slice through the air. Strategic cut-outs in the underarms and back assist with mobility and temperature regulation. Finger gloves eliminate fabric creases and decrease wind resistance. Superfluous elements, like a zipper, were also removed.

One compromise the team wasn’t willing to make was taming Hodgkinson’s signature ponytail. Enter an element that Nike hasn’t revisited since the 2000 Sydney Olympics: a hood. ‘The hair can create a lot of turbulence, so we've curated this hood to be perfect for her,’ Farron says – which includes an opening to allow for her ponytail to fly behind her.

‘It’s drastically different to what she normally wears,’ Farron says. ‘It stands out from what you're going to see at the starting line.’

According to Fallon, Hodgkinson is thrilled with the results – and that enthusiasm, perhaps, might be the final winning ingredient.

London design agency Heirloom has given shape to the newest iteration of the Yoto audio player. We talked to Heirloom founder Jack Godfrey Wood, designer Yemima Lorberbaum, and Tom Ballhatchet, VP Innovation at Yoto, about the 4th generation Yoto Player and Yoto Mini, two devices aimed squarely at de-screenifying the childhood experience of the modern audio and media landscape.

Yoto was born via Kickstarter nine years ago, with the idea of building a friendly, child-focused audio player for telling stories, telling the time and providing access to curated daily content. It was a cult hit, and over three iterations the design language was honed and refined to make it more suitable for little hands without deviating from the strong values of the founders.

Ballhatchet (who designed and assembled those very first units) and the Yoto team turned to Heirloom to make the card-driven player more scalable, adding greater scope for accessing content without ever letting users fall down the rabbit hole of screen addiction. The utter simplicity of the original – two buttons, a low-resolution screen, card slot and inbuilt speaker – has been retained and refined, with the newest innovation being the addition of a navigation wheel, the ‘Green Button’, to aid discovery.

Featuring softer corners and radii, the Yoto Player is still friendly and lightly anthropomorphic without dipping too much into a cartoon-like creature. ‘It’s a fine line,’ Ballhatchet admits, ‘we didn’t want to be a character, but we wanted to be characterful.’ ‘With a grown-up product, you’re often forced to be quite serious,’ admits Godfrey Wood. Yoto’s primary colours, chunky buttons and satisfying click mechanisms are anything but, although behind the simplicity of the interface is a sophisticated content creation operation.

Yoto was originally pitched at three- to five-year-olds, although the upper age range has crept up to twelve and even beyond as the device and audience have grown up. Yoto has found that children favour hanging onto to their players rather than age out of it.

So too does the impressive roster of content Yoto has built up over the years, from classic audiobooks to new releases, in-house commissions and Yoto Daily, a pint-sized podcast aimed squarely at the target audience with songs, facts of the day and a breezy disposition. Nearly 3,000 episodes have been made. It’s a little cultish, but in a good way, with many of the tech company’s family members having been willing guinea pigs for the devices from the outset, feeding back into what works and what doesn’t.

Most importantly, the Yoto Player is substantially more palatable than letting a young child loose on the platforms to find content themselves. With screen-driven parenting is becoming more and more socially unacceptable, Yoto wants to provide a true alternative.

The Player is a true 360-degree product in the way that it is shaped – no one way is up. A wedge shape on one side allows the player to be angled and flipping it turns on the nightlight. Ballhatchet admits that the Green Button is a ‘big bet’ innovation, one that triggered fierce internal debate, along with back and forth with the team at Heirloom.

In short, the youngest users tend to access content via the smartcards, which don’t contain any media but act as a switch to listen to a story or audiobook. Player can store this media on the 64GB of internal memory, and whilst earlier iterations allowed this library to be explored via the two buttons, the new button makes for more intuitive navigation.

As Godfrey Wood reiterates, ‘it’s a menu, not a screen’, and time was spent making sure the graphics, icons, and reactive animations weren’t too ‘sticky’. ‘Animation, etc., is counter to the goal [of the device],’ he clarifies. ‘We consciously didn’t want to make [something like] a fidget spinner,’ says Ballhatchet, ‘there’s a happy friction, but you can’t scroll infinitely…. Our original Kickstarter manifesto stated that we wouldn’t employ manipulative tricks.’

Avoiding the urge to weaponize distraction is definitely counter to the ambitions of most tech companies. ‘Our key metric is weekly active families,’ Ballhatchet says, explaining how family engagement is the goal, making the Yoto Player a part of a supervised routine rather than a digital babysitter. Parents control the set-up and content via a separate app and while the simple card system lays out the available content is easy-to-understand ways for smaller children, there’s also the ability to create personalised custom audio – reading a bedtime story, for example.

All this is supported by the newest addition to the Yoto family, the Yoto Mini, which gets the same Green Button navigation system, alongside physical changes that enhance its tactile feel and the same playful aesthetic. Reference points included classic toys from the American giant Fisher-Price, while the timeless look and feel of the hardware cloaks all the heavy lifting done by the software and the back-end content team. Detail design extends all the way to the USB cables, with grips designed to be friendly to small fingers (as well as a little winking face Easter egg).

‘We definitely leave room for joy,’ Ballhatchet confirms. ‘The designs aren’t austere,’ Godfrey Wood acknowledges, ‘it’s one of the rare kids’ products that adults are happy to have in their home.’ According to Ballhatchet, ‘it was a conscious decision to create something that endures long after the kids have grown-up.’

‘What’s unique about working with Yoto on future products is that it becomes a big discussion about morals,’ says Lorberbaum, ‘often the designer is the one representing the human side, but here it is Yoto. It’s very rare that a start-up makes a decision to follow a simple strategy so early on.’

The more tech-savvy can eke out a little more from their Yoto devices. A burgeoning community and the occasional hacks have surfaced, allowing cards to carry routines like toothbrush timers or tap into plane identification software. You could even create a card that turns the speaker into a radio after the children have gone to bed.

Yoto Player and Yoto Mini excel at their primary purpose of opening up worlds of imagination. Yet like all the best technology design, the hardware has longevity baked in, helping ensure a long lifecycle and flexible future use.

Available to order now from UK.YotoPlay.com, @YotoPlay

Heirloom.co, @h_e_i_r_l_o_o_m

This year’s ‘September Event’ was something of a double whammy for Apple, which not only introduced the world to a shiny new CEO in the form John Ternus, but also unveiled the iPhone Duo, its first ever folding phone, alongside the new iPhone 18 Pro and 18 Pro Max, Apple Watch Series 12 and Ultra 4 and AirPods 5, plus iOS27. Ternus, who took over from Tim Cook earlier this month, had the privilege of standing on stage at Apple Park and casually saying ‘there’s one more thing’, the traditional prelude to an earth-shaking announcement.

So what’s the big deal? It wasn’t as if the Duo was unexpected (although some thought it would be called the iPhone Ultra). The physical form is certainly unconventional (although Apple was beaten to the wallet/passport size ratio by both Samsung and Xiaomi), but what really matters is how it performs and what Apple has done to make the two-screen format feel essential rather than an impressive gimmick.

After all, this is the first change of form factor for a device that has sold upwards of two billion units (a figure that’s hard to verify as Apple doesn’t disclose sales figures), and while folding screens are a pretty technology at this point, Apple’s engineers and technicians are pretty much second to none, so any hardware-related issues feel extremely unlikely. At nearly $2,000 for the base model, rising to $3,199 for the 2TB model, this is the flagship phone to end all flagship phones.

Ternus began the presentation after extolling the extensive abilities of the iPhone 18 Pro, more of which later acknowledging that we all consider smartphones to be our ‘intelligent portable hubs’. ‘A larger display would open up entirely new possibilities,’ he continued, explaining how Apple didn’t want its foldables to look like ‘two phones stuck together’.

Instead, Ternus described the company’s quest to create ‘a larger display that feels as natural and intuitive as iPad – we believe it’ll redefine the experience of using a foldable phone.’ Design chief Molly Anderson called the iPhone Duo ‘new but remarkably familiar – the same size as your passport’.

With its rounded corners, asymmetric shape and sized to feel right in both open and closed modes, the key thing is the proportions. ‘We designed iPhone Duo around a consistent aspect ratio that is the same across both displays,’ said Anderson.

A lot has had to change to make the experience work, both in hardware and in software. For a start, there’s a hidden facetime camera behind the main display, along with the sophisticated new hinge system which includes magnets to snap the device satisfyingly shut. When open, it’s the thinnest iPhone ever made, while the frame is made from mirror polished Titanium for strength (available in two finishes, Star White and Night Sky).

The inner screen measures 7.6 inches (80 per cent bigger than iPhone 18 Pro), while the outer display, slightly shorter and wider than a ‘regular’ phone is 5.4 inches. When closed, the operating system orientates status and navigation to the right-hand side of the screen; open it up and content scales but controls stay in the same place. All apps have been redesigned to accommodate the screen sizes, while orientations happen naturally – when open, closed, propped half open.

A lot of what the Duo can do – run two apps at once, swapping them around sharing info between them – is par for the course on rival folding screen phones, but don’t forget this is Apple’s first swing at the form factor. You can be sure that a lot of these transitions will be a lot smoother and more intuitive than the occasionally hacked-together feel of Android-based systems. It’s all very sleek, from the alarm clock mode to the animation that expands the outer image onto the inner screen.

Apple Pencil compatibility is also coming, the first time the iPad accessory has been applied to the iPhone. The twin batteries provide up to 31 hours of video watching on the larger inner display, while the new flagship doesn’t scrimp on camera quality, with the same camera unit as iPhone 18 Pro. Helpful features like Duo Preview allow subjects to preview their own photograph on the outer screen as it’s being taken.

It was a good thing that the Duo was saved to last, because it would have made the regular hardware and software updates seem rather pedestrian. The new iPhone 18 Pro and Pro Max doubled down on the scope and power of Apple Intelligence. It’s all part of the ongoing Mexican stand-off taking place in Silicon Valley; in the ultimate scenario, the first company to blink faces ruin as everyone else swoops in and gathers up all the addicted AI users. One sign that Apple is taking AI ennui seriously is the new Apple Reference Image, all part of the substantial camera upgrade.

New image-making features include aperture control on the 48MP main camera with a physical shutter with blades thinner than a human hair. Apple Intelligence has been deployed to amp up the Photographic Style function for added texture and tone, while new Cinematic Effects can be applied to regular video in onboard ‘post’. 4K time-lapses have been added and a new set of Pro Controls have been added for greater manual control and custom controls. Apple clearly wants to take back the crown as the king of smartphone cameras.

Apple Reference Image is a new function that ‘signs’ each photo at pixel level at point of capture by creating an unalterable ‘reference’ version of every photo you take – a ‘digital negative’ – that can be used as verification after intensive editing and generative work.

Battery life is improved, with the 18 Pro offering the same durability as the ‘old’ 17 Pro Max, while 18 Pro Max has the longest battery life of any iPhone to date, 45 hours of video playback. A new A20 Pro chip sits at the heart of both phones, squeezing on even more transistors with a 6-core CPU and 7-core GPU. Visually, there’s now a smaller ‘dynamic island’ at the top of the screen, although it’s more flexible now with up to three different status indicators on screen at once. All this is powered by iOS27.

The new AirPods 5 (pre-order now, available 18 September) come with improved personalised spatialised audio and Active Noise Cancellation, offering up to 50 per cent more noise reduction than the previous generation, as well as Adaptive Audio that automatically adjusts between ANC and transparency depending on background noise. Total integration with Siri AI allows hands-free, context-rich access to info on your device and in your messages. The Live Translation feature has been updated.

Apple Watch Series 12 (pre-order now, available 18 September) includes a new chip to power a host of Audio Intelligence features, along with much more accurate fitness metrics. New features include Live Rewind, which can transcribe the last 15 seconds of audio as well as Siri Recap, coming soon, which uses the watch’s ambient listening abilities to take away, decode and summarise key points from meetings and events (very much like what standalone devices like Plaud already do, effectively ending their small window of advantage in the rampant AI device sector). Notably, Apple pointed out that Siri Recap will deliberately not be able to identify speakers or store audio.

There’s also more customisation on watch and band – ‘it’s not just a watch, but it’s your watch’. Series 12 finishes include Space Grey, Black, White Gold and Dark Bronze, all using recycled aluminium, with tougher glass and surfaces. Polished finishes in titanium (also recycled) are available, while a Pearl White and Night Blue ceramic finish has been introduced. The new flagship Ultra 4 model (pre-order now, available 18 September) gets up to two days of battery life, better durability and even more finishes.

When the dust settles and the analysis, stress tests, and teardowns begin we’ll see if Apple has made a smart move waiting for folding tech to reach full maturity before throwing its hand in the ring.

Alternatively, Apple iPhone Duo could simply be a low-volume, high status flagship device that further broadens the iPhone’s global appeal.

Apple iPhone Duo starts at $1,999 for 256GB with pre-orders from October 16
Apple iPhone 18 Pro, from $1,199, Apple iPhone 18 Pro Max, from $1,299, Apple Watch Series 12, from $399, Apple Watch Ultra 4, from $799, Apple AirPods 5, from $129, Apple.com/store

Space stations have long served as a fantasy brief for designers of all stripes, from transportation to industrial, automotive and even architects. Something about the combination of pure function, dramatic lighting and weightless environment brings out the utopian retro-futurist in everyone, unburdened by gravity, budgets or the faintest chance of actually getting these designs into orbit.

That’s not to say that a huge amount of work and research doesn’t go into these projects. With the current kerfuffle around all things space and the investment/bubble/confusion over the astronomical stock value of the ability to shoot things into orbit, it’s surprising that there aren’t more aesthetic adventures in design for rocket science.

That’s why this concept design, the Thunderbird Space Station, by OMI studio for start-up Max Space is so interesting. Thunderbird is the orbital component of Max Space’s expandable habitat technology, an ongoing project to create Lunar, Martian and low-Earth orbit living spaces for future space missions. Working with OMI (Of My Imagination), the conceptual vision has been created in close collaboration with a number of former-Nasa astronauts with the aim of ‘reimaging the space station as a human-centred environment rather than a purely functional spacecraft’.

The stark contrast between the sleek modernity of Stanley Kubrick versus the chaotic jumble of cables and pipes that line the interior of the International Space Station is the usual example of what might happen to good intentions when harsh reality intervenes. For the OMI team, functionalism, flexibility and modularity are at the core of the Thunderbird modules.

Intended to be launched aboard SpaceX’s Falcon 9 medium-lift rocket, the key to the Thunderbird concept is expandability, allowing modules to be ‘opened up’ once in orbit, allowing much more orbital space to be sent up with each payload.

The circular structure makes full use of how microgravity changes perception and navigation through three-dimensional volumes. As OMI notes, this approach meant having to rethink everything from CAD software to fixtures, fittings and the alignment and orientation of equipment. In addition to quarters for a permanent crew of four (complete with private sleeping pods), the brief called for gym facilities, control centres, scientific laboratories and a communal living space, a total of eight functional areas.

Max Space is currently being funded by Nasa to explore the potential of a similarly modular approach for a lunar habitat. That’s a different challenge again to a space station, where internal divisions can be made from hard-wearing textiles, with a structural tubular framework in the laboratory space to allow equipment to be easily upgraded over time. Cable management is also part of the deal – thinking back to the ISS.

External surfaces are made from multi-layered Kevlar, light and strong with a triple safety redundancy, often exceeding Nasa’s requested standards for protection against things like micrometeoroids.

In total, there’s 350 cubic metres of living space, all of which can be packed into a single Falcon9 rocket. That’s just over a third of the size of the ISS, which according to Nasa, ‘required 36 Space Shuttle assembly flights and six Russian Proton and Soyuz rocket launches’ and is often cited as the single most expensive object ever created by humankind. That’s not the kind of record Max Space and OMI want to challenge.

‘At OMI our best work happens when challenging what is possible in transport design,’ says the studio’s Dan Window. ‘By engaging at the very start of the Thunderbird project, we were able to employ our unique expertise to create a completely novel habitat which rethinks how humans live in space. Our design language for the project is focused on creating an environment that is as functional as it is liveable.’

For Max Space co-founder and CEO Saleem Miyan, the Thunderbird platform is a ‘viable and evolutionary leap towards the future of human habitation beyond Earth the team has done a beautiful job of relieving the frustrations involved in current space habitats (privacy, small spaces, and laboratory environments), and I’d love to experience the Thunderbird station myself.’

ofmyimagination.com, @ofmyimagination, getMaxSpace.com, @getMaxSpace

Buckle up for a deluge of new products from Dyson, an onslaught the company is calling a ‘new era of intelligent machines’. Hot on the heels of the world’s first camera-equipped toothbrush, the Dyson CameraJet, the company has revealed a slew of new releases across its other key sectors, cleaning, cooling and beauty, at the Dyson Unveiled event in Berlin, overseen by chief engineer Jake Dyson.

We’ve had a preview of many key products from this drop, among a total of 12 new offerings. The headline takeaway is that sensor-driven intelligence, underpinned by machine learning and AI systems, is now considered an integral pillar of the Dyson experience, alongside its long history of mechanical engineering and innovation.

‘We’ve always been very focused on mechanical engineering, spending decades honing the physical way that each machine performs,’ says Jake Dyson. ‘Now we have shifted from purely mechanical devices to intelligent machines that can see, think, and respond. We’re using artificial intelligence, vision systems and machine learning to allow the machines to understand the environment they are operating in. The approach is the same, whether it’s operating in your mouth, on your hair or around your home.’

Read on to discover what’s new across all the sectors of Dyson's business.

Dyson R3 Nurovi Spot+Scrub UV

One of three robotic vacuum cleaners in the new Dyson Robot Nurovi range (named for their use of Neural Intelligence networks and an all-new ‘Vision’ sensor system), the flagship Dyson R3 Nurovi Spot+Scrub UV has onboard AI stain detection that uses a combination of ultraviolet light, AI vision, and green laser-like illumination.

When used together, the Nurovi R3 can identify nearly 200 types of household substances and objects, returning again and again to the same spot to scrub away until a stain is removed. The docking system provides liquid refills and waste emptying, while the wet roller has a self-cleaning system and uses 70°C heated water to accelerate stain removal.

Dyson R3 Nurovi Spot+Scrub UV robot vacuum, available early 2027, price tbc

Dyson R2 Nurovi Wash+Dry

The R2 Nurovi innovates with triangular mopping pads based on triangular Reuleaux geometry, enabling the robot to reach right into corners.

Water is heated to 75°C, while the newly introduced Twin-capture system filters debris, separating larger chunks from fine dust for a more efficient clean.

Dyson R2 Nurovi wash+dry robot vacuum, £749.99

Dyson R1 Nurovi Dry

The Dyson R1 Nurovi Dry is a purely dry machine, designed for carpets as well as hard floors that don’t need mopping. With extending side sweepers to get closer to walls, it improves coverage.

Dyson R1 Nurovi Dry, £499.99

Dyson W1 PencilWash

For those who prefer to do the cleaning themselves, a trio of hand-operated machines are available, starting with the new Dyson W1 PencilWash.

This evolution of the slender PencilVac and original PencilWash will mop more efficiently thanks to a more absorbent roller and a new hygienic waste system. The dock also doubles as a cleaning station.

Dyson W1 PencilWash, £299.99

Dyson Big Ball Konical Cylinder Vacuum

Another highlight is the return of the Dyson Big Ball vacuum cleaner. The Big Ball Konical updates the cleaning classic, including a visual throwback to the eye-catching colourway of the original DC01 De Stijl vacuum, with the addition of a green laser-like light to illuminate dust, powerful cyclone-driven suction and the ultra-manoeuvrable, self-righting Ball design.

Another new cleaning product announced but not on sale until 2027 is the new Dyson V15 Konical Cordless Vacuum.

Dyson Big Ball Konical, £349.99, Dyson.co.uk

Dyson HushJet Big+Quiet Cool Pure+Formaldehyde

These new air purifiers follow on from Dyson’s earlier HushJet models, including the cult HushJet Mini Cool Fan launched in spring 2026. This time, the scale pendulum has swung in the opposite direction with three new models led by the mighty HushJet Big+Quiet Cool Pure+Formaldehyde. This offers cinematic levels of air flow, with a variable nozzle inspired by aerospace design and airflow control. The approach has also been used to minimise the sound of the rushing air.

All models have a three-stage filtration system designed to capture particulates and gases as well as destroy formaldehyde. It'll be joined in October 2026 by the Dyson HushJet Pure Cool+ Formaldehyde (£549.99) and the Dyson HushJet Hot Cool Pure+, which goes on sale in December (£549.99).

The former is more compact, yet retains a very high-performance output, with as much as three times more air output than its predecessor models. The Dyson HushJet Hot Cool Pure+ is a 3-in-1 model, bringing not just personal cooling and purification but also heating.

Dyson HushJet air purifiers coming soon, Dyson.co.uk

Dyson Corrale CoolShine

The Corrale CoolShine straightener extends Dyson’s haircare range with a new hot-plate styling tool designed to reduce damage and speed up straightening. The CoolShine uses thermal engineering principles derived from Dyson’s Solarcycle light system, with an onboard cooling attachment that keeps excess heat away from the hair.

Dyson Corrale CoolShine, price tbc

Dyson Airsmooth

The new Airsmooth hot brush is Dyson’s first dedicated hot air brush, incorporating airflow technology, engineered to simplify everyday styling routines without compromising results. It brings together Dyson’s pioneering airflow technology with specially developed Anti-snag bristle technology for use with all hair types.

Finally, Dyson’s acclaimed range of haircare products, including the Supersonic hairdryer, Airstrait dryer and straightener, Airwrap multi-styler and Corrale straightener are or will soon be available in a new Plum and Copper Colourway.

Dyson AirSmooth, £199.99, Dyson.com

If you were a 1990s kid, then you may feel an affection for Tamagotchi. The portable digital pet became a pocket-sized staple after its first release in November 1996, when its ball-chain design could be hooked around handbags or trouser loops.

Since then, it has gone through many iterations, from a necklace to a wristwatch, while the underlying principle of caring for a digital pet has remained the same. Now, its newest form has been unveiled as a Tamagotchi ring to mark its 30th anniversary.

Everything you need to know about the Tamagotchi ring

Bandai Co, the Japanese manufacturer behind Tamagotchi, has created the device to be worn on the finger. The 28mm piece of technology features a colour LCD screen (a feature first introduced in 2008) and allows you to nurture up to 30 Tamagotchis.

The ring is the 39th product in the main series and is about half the size of the original Tamagotchi (which was around 50mm long), with a 0.56-inch screen. The ring band, which comes with an adjustable spacer, fits Japanese ring sizes 10 through 14 comfortably.

The original egg-shaped design with three buttons and LCD screen remains the same; however, additional buttons placed on the left and right allow for extra operations. After two years of development, it is also the world’s smallest colour LCD device, and the first of the Tamagotchi series that can be charged in a dedicated charging case.

To celebrate 30 years, familiar Tamagotchi characters make a return, further dialling up the nostalgia factor. Depending on how you raise them, the cute digital pets may grow into secret Tamagotchi characters too.

Retailing at 7,700 yen (around US$48-$55 / £44-$55), there are three ‘Tamagotchi ring’ types. Pre-ordering closes on 6 October 2026, with delivery scheduled for February 2027.

Pre-ordering is available at p-bandai.jp and zenintcg.com

The Bugaboo stroller has long been an upward social indicator, the Bugatti of baby buggies, if you will. The Dutch company launched in its home market in 1999 and came to the UK at the turn of the century, upending decades of market domination by a small number of brands and dragging the stroller into a newly competitive sector.

Now the company has teamed up with Stella McCartney to cement its status as a style leader, with new colourways across three key models in addition to a range of accessories. McCartney’s eye brings together a surprisingly masculine colourway – Tobacco Brown with accents in Saddle Brown – along with a diamond-cut chain detail and vintage gold medallions.

Three strollers get the treatment, including the flagship Bugaboo Fox 5 Renew, the compact Dragonfly Plus and the Butterfly 2 travel Stroller. The accessory list includes a tote bag, mittens and footmuff, all of which bear the signature Stella McCartney monogram to give off the right vibes in the playground.

It’s not just about pre-school brand awareness of course. McCartney is bringing her own experience of motherhood – and childhood – to the project, which includes vegan leather, recycled aluminium and polyester fabrics and water-free dyes. McCartney’s Falabella bag (named after her childhood pony) serves as the influence for the chain and stitching details.

Bugaboo’s reputation has also been thoroughly well earned, with design details, material approaches and technical performance that outdid the competition to set new standards for stroller design. Aligning itself with a powerful but eco-conscious brand like Stella McCartney is 100 per cent in sync with its stated values. In 2023, Bugaboo became a B Corp and hopes to reach net-zero status by 2035.

According to Bugaboo’s CEO, ‘Today's parents are design-minded, values-driven and on the frontfoot of culture. They expect the brands they choose to reflect that. Stella McCartney has always proven that style and responsibility belong together, and that's a belief Bugaboo shares deeply.’

‘Working with Bugaboo makes sense, as it’s a brand that shares our commitment to innovation and responsibility,’ says Stella McCartney. ‘This collection is for every mum who wants to bring her own individuality and playfulness into parenthood.’ The Bugaboo x Stella McCartney range is being launched with a campaign headed up by model and new mother Poppy Delevingne.

Bugaboo x Stella McCartney, available from Bugaboo.com, @BugabooGlobal, StellaMcCartney.com, @StellaMcCartney

Dyson doesn’t do things by halves. When it comes to entering a new sector, the company is famed for its all-out, complete immersion in every facet of the existing technology, exploring which angles and aspects can be improved and enhanced – a substantial chunk of the company’s Malmesbury HQ is given over to top secret R&D. Sometimes all that effort ultimately comes to nothing, such the half-billion-pound investment in the Dyson electric SUV.

Other times, the product makes it to market with high hopes of disrupting the status quo and shifting an entire industry’s technological focus and direction, as it famously did with the bagless vacuum cleaner. Now Dyson has unveiled a new fixation, an oral one to be precise.

This is the Dyson CameraJet, an electric toothbrush that goes above, beyond and deep into the crevices to deliver the kind of dental do-over that one would normally only get from a professional.

As the name suggests, the CameraJet comes with a component that – to our knowledge – has never found its way into a toothbrush before. Dyson has developed a miniature camera system that’s been trained up on nearly half a million dental images to work alongside the integral water jet; the latter streams a floss-like ribbon of high-pressure mouthrinse of water into the gaps between your teeth, thanks to a carefully trained algorithm (‘Gap Optical Targeting’, in Dyson tooth speak).

The result is a home plaque removal kit, one that targets the oft overlooked interdental spaces. According to Dyson’s own research – and the company has spent six years working on this toothbrush – ‘nine in ten people do not floss as regularly as they should and, on average, people spend just 45 seconds brushing, which is well below the two-minute guideline’. Dyson hopes the liquid flossing system they’ve developed will banish this blind spot and improve dental health for all.

According to James Dyson himself, ‘flossing is an awkward and time-consuming chore. Few of us do it even though we know we should. Dyson engineers and scientists have spent well over a decade understanding oral care regimes and how nasties build up in the mouth. Our research has shown that people consistently miss the areas where plaque forms: the gaps between teeth.’

The CameraJet is therefore intended to be the ultimate toothcare system; in grand Dyson style, the problem has been tackled with the development and implementation of unique technology. ‘By combining a camera, machine learning, precision fluid dynamics, advanced brushing technologies, connectivity and WiFi, Dyson CameraJet introduces an entirely new way to keep your mouth healthy,’ James Dyson continues.

Other innovations include a new way of moving the toothbrush head - variable sonic oscillation –as well as the carefully shaped conical jet of liquid that shoots out below the head, which involved fluid dynamicists obsessively finding the best way to remove plaque, even developing their own ‘proxy plaque’ in collaboration with the National University of Singapore’s Faculty of Dentistry.

All this obsessive attention to detail comes at a cost, technological as well as monetary. For example, not only are the RFID-equipped toothbrush heads bespoke and not compatible with other leading brands, but Dyson would also rather you used its own specially developed toothpaste and mouthrinse, both formulated for use with the system, using a non-SLS toothpaste (ie, non-foaming) so as to keep the camera view clear. Each is available in two flavours, Ginger Mint and Spearmint.

While toothpaste goes on the brush, the mouthrinse needs to go into the CameraJet itself, requiring another round of engineering investigations. The end result is a small 12.5ml mouthrinse tank equipped with a diaphragm pump – this ensures that exactly the right amount of mouthrinse for each squirt is dispensed, even if the toothbrush is being held at an awkward angle.

All of this is managed via a bespoke charging dock that fills the reservoir in addition to charging, while a separate travel case is also supplied. Although it’s not the first electric toothbrush to have WiFi and Bluetooth connectivity, the CameraJet’s party trick is undoubtedly the dentist’s-eye view you can access over the phone through the MyDyson app. The more odontophobic among you might not want to check out the livestream from the integrated 100k pixel macro lens camera in real time (28 live images every second).

We haven’t had the pleasure of trying out the toothbrush in a real human mouth, but a quick play on a spookily disengaged model set of teeth showcased its ability to punch the water jets into precisely the right spot. An expensive outlay, for sure, but it quickly becomes cheaper than a weekly visit to the hygienist. And like all tech-driven health and self-care devices, the gamification aspect could quickly become addictive.

Dyson Dental System, £419.99, available in Ceramic Ultra Blue and Ceramic Pink. Includes Dyson CameraJet Toothbrush, charging dock, travel case, Dyson Toothpaste and Dyson Mouthrinse, Dyson.co.uk, @Dyson

Bang & Olufsen deepens its ongoing partnership with Kvadrat with this new edition of the Beosound A9 speaker. That’s the model that stands serene on its own wooden tripod, offering up an expansive disk of drivers that creates a massive soundscape. Of all B&O’s products, the A9 probably offers up the most physical real estate to cover so the Kvadrat tie-in makes a lot of sense.

The newest iteration of the speaker uses Kvadrat’s Woolscape textile, a bespoke material created especially for the B&O A9 by the company’s knitted textile brand, Kvadrat Febrik, and Front, the acclaimed Swedish design studio founded by Sofia Lagerkvist and Anna Lindgren.

The duo’s starting point for the new textile were the colours of Swedish fauna, particularly the country’s forests and lakes. According to B&O, ‘the textile explores how elements of the natural world can be reinterpreted for contemporary interiors.'

Front created a visual archive of textures and forms from nature, photographing and scanning elements that were subsequently turned into a durable double-knitted upholstery textile with a deep, tapestry-like surface. Up close, the fabric reveals the variety and texture of the knit, a quality that changes depending on the time of day and type of light.

B&O worked hand in hand with Kvadrat to translate the weave into a high-quality acoustic surface befitting one of its speakers. ‘Our starting point is always to begin with our upholstery textiles. In terms of our process to achieve a textile for audio, we work to create a textile that is lighter in weight (meaning less yarns), so the textile is more open in its construction,’ say the team at Kvadrat, ‘This will in general get us the results needed for best possible sound performance, but it’s in general a process of learning by doing. The overall challenge is to find the right level of yarns in the textile construction and simultaneously keep the texture rich, meanwhile ensuring a high audio quality.’

At the same time, the A9 has been given a new surface finish, Sienna Brown, which extends right across the rear dish of the speaker and its aluminium legs. It pairs perfectly with the new Woolscape fabric in Mineral Red.

‘With Sienna Brown and Woolscape, we saw an opportunity to give Beosound A9 a new character through the dialogue between colour, material and form,' says Bang & Olufsen's Senior Director of Design Kresten Bjørn Krab-Bjerre, 'This interplay of materials allows the distinctive shape of A9 to remain at the centre. It is a combination that feels both considered and natural, bringing a new sense of depth to the speaker.'

The new Woolscape covers will also be available in Black Anthracite, Gold Tone and Natural Aluminium. According to Renee Mercks, Creative Director at Kvadrat Febrik, the new fabric 'translates the textures, colours and complexity we found in nature into a textile that changes with its surroundings, creating a sense of discovery and connection to the environments that inspired it.'

Beosound A9 Sienna Brown with Woolscape Mineral Red, available from select Bang & Olufsen stores and online at Bang-Olufsen.com, @BangOlufsen, Kvadrat.dk, @Kvadrattextiles, FrontDesign.se, @FrontDesign

We’ve rounded up five new turntables that make the most of vinyl releases, new and old. From ultra-high end Japanese hi-fi to a celebration of a modern classic, to designs from Denmark, Germany and Austria, these machines will treat your records right whilst also offering a stylish addition to any room.

Esoteric T-01

At the top of the tree is the new Esoteric T-01, the high-end arm of Japanese electronics manufacturer TEAC (Tokyo Television Acoustic Company). The T-01 is the second turntable model from the company after the 2022 Grandioso T1 to use its unique ‘Esoteric MagneDrive System’, a contact-free method of rotating the platter that avoids the wow and flutter associated with belt drives.

According to the manufacturer, this method brings ‘extraordinary rotational silence, stability, and high-torque performance.’ The hefty 13kg platter has been milled from a solid aluminium block to add further solidity and stability. The turntable is also sold as the T-01 AL, which comes without a tonearm and cartridge.

Esoteric T-01, available in September 2026, £41,999 / $50,000, Esoteric.jp, @Estoteric_Audio_Official

Argon Audio Aurora

The Aurora from Denmark’s Argon Audio offers a traditional, minimal layout with high-quality components, including an aluminium static-balanced S-shaped tonearm and the supplied Ortofon Concorde Music Blue cartridge. The Aurora has a direct-drive motor and also comes with an onboard phono pre-amp so it can be connected directly to a pair of powered speakers.

In addition, the Aurora provides support for 78s as well as regular 33 and 45rpm records, although a dedicated cartridge is needed to delve back into vinyl’s distant past (78s effectively ceased production by the end of the 1950s). It’s available in a matt black finish or a classic walnut veneer.

Argon Audio Aurora, €1,299, ArgonAudio.com, @ArgonAudio

Dual CS 718Q

Previewed last year and due for launch in Q3, the Dual CS 718Q is a manual direct-drive three-speed model that draws on the company’s heritage, particularly the CS 701 turntable from 1973, the first ever European made direct-drive turntable. There have been many 7 Series Dual models since then, with the CS 718Q continuing the German company’s long tradition of audio excellence.

Dual CS 718Q, more information at Dual.de, @DualTurntablesOfficial

Technics SL-1200 55th Anniversary Edition

The SL-1200 is one of the most familiar turntable designs in history. Introduced in the early 1970s, it found favour as one of the foundational tools of DJ culture, with the pitch correction and near-instant torque of the direct drive system making it the perfect deck to use for mixing. Then there’s its role as the go-to turntable for scratching, all of which has ensured that a pair of SL-1200s is a must-have for huge swatches of music culture.

The newest version has been built to celebrate 55 Years of the SL-1200 Series, released in a limited edition across seven bold and bright colour ways, Gold, Blue, Red, Black, Green, White, Grey. The addition of blinging gold accents is inescapably prominent, while all the functions and features of the original are present and correct, including the strobe marks, slip mat and anodised S-shaped aluminium tonearm. The technology under the ornament is from the Mk7 platform of this enduring device.

Technics SL-1200 55th Anniversary Edition, limited to 12,000 units, from £1,099, Technics.com, @Technics_global

Pro-Ject E1.2 BT

Pro-Ject has introduced a Bluetooth-equipped turntable, the E1.2 BT, to an established line of Plug & Play models. With an integrated Qualcomm Bluetooth 5.4 transmitter module, the turntable can be paired to compatible Bluetooth speakers at the push of a button, making vinyl playback as simple as possible.

The turntable includes a Pro-Ject Pick it MM E cartridge and precision tonearm, and comes in three standard finishes, High Gloss Black, Satin White and Walnut. An expanded colour palette includes Satin Black, Satin White, Satin Fir Green, Satin Golden Yellow and Satin Steel Blue. There’s another new model being added to the E 1.2 line, the E1.2 Phono, which incorporates a phono preamp for direct connection to a line input.

Pro-Ject E1.2 BT, £399 / €399 (standard finish), £449 / €449 (colour finish), more information at Project-Audio.com, @ProjectAudioSystems

For many people, the brave new world of the AI-assisted workplace is something that is foisted upon them, rather than being a conscious choice. Although most modern smartphones – and their accompanying earbuds – have some form of AI embedded at source, they’re rarely designed for an always-on, note-taking type situation that might benefit the work environment. In any case, these systems often fall down when it comes to sifting through and sorting the deluge of data that results.

Users of the Plaud Note Pro are already familiar with the company’s low-key but confident workstream. The Note Pro is a credit-card sized recorder that clips magnetically to your phone and offers varying degrees of transcription, up to and including multi-people meetings and summaries.

Now Plaud is going further with its new Plaud One, part of the new generation of AI-enabled wearables. The 4G-connected earbuds are designed to capture conversation and then interpret meaning, intention and action.

The latest version of Plaud’s Intelligence software, v4.0, underpins the supporting software, while the hardware side is bolstered by the standalone case, a compact block akin to a miniature Rimowa suitcase, that can also record on its own.

So does it work? Review units aren’t yet available, so all we can do right now is marvel at the impressive industrial design and look back to Plaud’s other products, including the Note Pro and the NotePin S. What we’re told is that Plaud Intelligence is now equipped with a ‘deeper memory and persistent context’, allowing it to make connections with earlier conversations or meetings, building up a more holistic picture of a project.

In addition to the transcription function, Plaud’s Agent is designed to handle various work tools from within the platform, with custom workflows (‘Skills’) that could, for example, email meeting notes automatically to all attendees, place future events in the calendar and even draft presentations.

Is this the killer app for AI-driven office automation? Probably not, given the fractured nature of the AI eco-system, the rising clamour of a thousand agents all vying for attention, and the need for all parties to be completely all-in and fully signed on to the Plaud process to get the best out of the hardware and software.

According to Plaud’s CEO and co-founder Nathan Xu, ‘AI agents become truly useful when they understand the context in which human intent is formed. That context lives in conversation. Plaud One brings agents closer to the real-world work people do every day, while Plaud Intelligence gives them the context and capabilities to act. We are opening the Explorer Edition because interfaces are proven in the field and shaped by the people who put them to work.’

A new version of the Plaud App will bring the updated intelligence functions to all their products. However, like the rest of the Plaud suite, more in-depth usage requires a subscription; the agentic capabilities of Plaud One will be no different.

Plaud One Explorer Edition, £229, Plaud.ai, @Plaud_Official

Serious swimmers looking to take the latest tracking technology into the pool should consider Speedo’s new iQ system, which launches today. A new kind of wearable swim tech, Speedo iQ are sensor-equipped goggles designed to help professional – and enthusiastic – swimmers refine their form, stroke and technique.

Speedo has been working on smart goggles for many years, incorporating the required sensor technology into its proven goggle hardware along with the accompanying software required to analyse and explore after the session in the pool. Along with tracking key metrics like distance, pace and duration, Speedo has worked hard to ensure that the four major strokes – front crawl, backstroke, butterfly and breaststroke – are all accommodated.

In order to do justice to the best and most efficient technique, the hardware also has to track things like head position, breathing and turns. The system is World Aquatics approved, which means it can be worn competitively, and there’s no subscription service required; every function is available right out of the box.

After a session (there’s enough battery for up to four hours of swimming), the goggles sync with the dedicated Speedo app and data is transferred for analysis. Available insights include ‘head playback’, which showcases positioning and form throughout the swim, providing invaluable analysis for high level coaches and athletes as well as keen amateurs looking to improve their technique.

The sensor suite is integrated into the Speedo Vanquisher training goggle, contained within smart module that can be removed. It’s all part of the acclaimed swim brand’s ongoing fusion of technology and advanced materials.

Speedo iQ, £149, Speedo.com, @Speedo

Space starved lovers of intensive home workouts should consider the new OMNI X1 Pro from Innodigym, a self-described ‘smart gym machine’ that aims to put a raft of different workouts and fitness options into a relatively compact all-in-one package.

The new device has been shaped to replace a number of different workouts with a single piece of equipment, including free weights, benches, racks and cable machines. Up to 120kg of resistance is offered through digital control, with a 360-degree cable system running around a three-rail structure inside the foldable unit. When unfolded for use, the X1 Pro takes up just 10.4 square feet of space. When stored it’s smaller still, taking up just 1.3 square feet.

Innodigym are hoping the unit earns its smarts through the flexibility and variety of the workout modes, which are pitched at keen beginners and regular gym goers alike. The product, which was launched and funded via Kickstarter, goes beyond straightforward cardio workouts to imitate the feel and feedback of commercial equipment. The cable system allows the user to make natural movements regardless of whether they’re lunging, doing bench presses, squats, or pulldowns.

The beauty of the X1 Pro is that all this can happen in the same place on the same piece of kit. This functionality is assisted by an AI coach system that incorporates hundreds of guided exercises across the four training modes, Standard, Eccentric, Spring and Isokinetic. The large touch screen provides guidance and chronicles reps and weights.

Safety has also been taken into consideration, with a special quick release button on the smart handles taking the role of a spotter during heavy lifts, while the AI-driven guided workouts are also programmed to release resistance if a problem is detected.

The X1 Pro is also available with an optional Fitness Bench and Pull-up Assist System to create a complete home workout experience.

Innodigym OMNI X1 Pro, £2,449 / $3,299, Innodigym.com

Choices, choices. What if you don’t want to give up the convenience of smartphone but still want to do things a little differently? We flagged the existence of the Fairphone 6 in an earlier round-up of simple smartphones, but now we’ve had a chance to trial the uprated new Fairphone (Gen. 6+) to see if it lives up to its promises.

First impressions of the FP6+ are very favourable. The processor has been upgraded to the Snapdragon 7s Gen 4 (as found in Nothing Phone (4a) and various models from OnePlus, Motorola and Xiaomi), while onboard memory is now a competitive 12GB.

The camera stays the same as the original 6 (a 50MP main camera with a Sony lens, a 32MP Samsung front camera and a 12MP ultra-wide camera), while the exterior is distinguished by a new Cobalt Blue finish, with matching accessories.

For most casual users, the most important part of a smartphone is the camera, and the FP6+ is accomplished but not exceptional. Comparing like-for-like images with a more dedicated camera-centric phone (the Leica Leitzphone powered by Xiaomi) and images are softer with slightly less definition and flatter colour – it’s a combination of lens quality and post-processing that gives the Xiaomi the edge, as it should given its price premium.

In the hand, the Fairphone feels more plasticky than the sleek metal devices we’ve become accustomed to. To its credit, Fairphone leans into this, partly because over 50% of the total weight of the phone are made from fair and recycled materials.

Organisations like the Fair Cobalt Alliance, co-founded by Fairphone, are striving to improve conditions in cobalt mines in the DRC, the kind of small-scale, low-wage and high-intensity working environment that has become essential to smartphone manufacturing yet is all but invisible to consumers.

If you’re keen to support such initiatives, you’re also probably more disposed to digging into devices when they start to go wrong. The FP6+ contains 12 different parts that can be repaired with nothing more than a screwdriver. That includes the battery, as well as a range of accessories, while Fairphone will also supply a list of swappable spare parts, from camera modules to the speaker and the screen (which comes in at €89.95).

As well as all this, the phone has support for a regular SIM and an eEIM, microSD card support and a new dedicated Fairphone Gallery app if you want to keep your images away from the big tech brands.

The bottom line is that this is a common or garden mid-range Android smartphone, a wise buy at a time when mid-range is king. As previously noted, the speed of chips and quality of screens, cameras and the overall Android experience has reached a point where most mid-range devices do all you could conceivably require of a phone.

The recent pivot towards folding flagships is one way of keeping phones in the premium space, as is the largely unnecessary addition of intensive AI-driven processing, interrogation and photography. Fairphone is about neither of these things, although it's more than capable of running Google's Gemini.

But how long should a smartphone last? Google promises seven years of OS updates for its Pixel range, a figure also matched by Samsung. Apple’s iPhone can max out at eight years of support. All these figures overlook the fact that battery life could well be severely impacted before these targets are reached, making the device economically unrepairable before its time.

Fairphone reckons the new phone should easily last through to 2033 and beyond, thanks to its repairability and promised software support. As a result, there is a great deal to admire in the Fairphone (Gen. 6+), as a small company punches above its weight while also foregrounding best practice in an industry not best known for its sustainable and ethical approach. The new model also marks the brand’s debut in the USA – a timely arrival, given the gathering support for the Right-to-Repair movement.

Later this year, the company will bring these qualities to its second set of earbuds, Fairbuds 2, continuing its mission of keeping pace with change without compromising its values.

Fairphone (Gen. 6+), £569 / $649, Fairphone.com, Amazon.co.uk

Don’t give up on the compact disc just yet. The quiet revival of the 1980s’ greatest format hasn’t reached the media peaks of vinyl frenzy and probably won’t, thanks to the format’s inherent fragility. Chipped and cracked plastic jewel cases and potentially fatally scratched discs will never hold the aura of a crackly slab of second-hand vinyl and the scuffed majesty of a gatefold sleeve.

Nevertheless, second-hand CDs remain cheap and widely available, while most modern artists worth their salt still issue them, particularly via sites like Bandcamp. Treated well, a CD still offers music quality well in excess of all but the highest resolution streaming services. The format is also a window into the dying art of album curation, as well as a chance to experience music before the loudness wars and endless remasters.

CDs are a welcome time capsule, a singular point of focus in a world hell-bent on distraction. Here – adding to our previous pick of standard-sized CD players – are six contemporary compact CD players that’ll take you back to the dawn of the digital age.

Fosi Audio Merak

First up, the Merak from Fosi Audio. Although ultra-compact in the same vein as the best portable players of the past, the Merak is actually designed for desktop use. The free-moving transparent lid and prominent volume slider definitely aren’t designed for use on the go, quite apart from the lack of onboard battery.

The aluminium device has a slim OLED screen and draws power from USB-C, either a dedicated charger or via a laptop or PC. Output is via headphones, line output or optical and there’s a one-touch ripping function that translates a CD’s content to a USB thumb drive.

Fosi Audio Merak, $139.99, FosiAudio.com

Beams Hill

For a stripped-back budget option, consider the Hill player from cultish Japanese retailer Beams. Costing barely more than a modern box set, the Hill is a true portable player that gobbles AA batteries, abhors Bluetooth, has an old-school LCD display and measures little more than the disc contained within.

The semi-transparent lozenge-shape body comes in either orange or blue and Beams also throws in a pair of (very cheap) wired earbuds (with caveats about their sound quality). Unashamedly nostalgic but also potentially rather fragile, it’s the kind of device that could spread the CD love to younger generations.

Beams Records Hill Portable CD Player, ¥7,590, Beams.co.jp

FiiO DM15 R2R

Guangzhou-based FiiO has quietly become a key player in portable audio, from MP3 players to CD-dedicated models. Its most recent portable compact disc player is the DM15 R2R, which is rich in features with a stylish design. In addition to regular CD playback, the DM15 includes an onboard digital audio convertor and headphone amp for processing audio from a phone or laptop.

The battery life offers around seven hours of regular playback, wired and Bluetooth headphone support is offered and there’s also the ability to rip CDs (albeit to WAV format only) direct to a connected PC (although enthusiasts will know that software options are usually best for this kind of thing). Available in silver, red, black, and white, there’s also an optional case and shoulder strap.

FiiO DM15 R2R, £249 / $249 / €269.00, FiiO.eu, Amazon.co.uk

Shanling EC Play

Shanling is another Chinese manufacturer muscling in on the CD revival. The company’s newest compact is the EC Play, which joins the EC Zero T and a number of desktop players in its burgeoning range. Another feature-rich portable, this time with 12 hours of playback onboard, the EC Play is a chunky aluminium square available in Feather Green, Onyx Black and Moonlight Silver finishes.

In addition to playing back regular CDs, the EC Play also supports CD-R and CD-RW formats, with Bluetooth 6.0 wireless headphone out in addition to 3.5mm and 4.4mm headphone jacks. The player also has a high-quality SPDIF digital output for pairing with a hi-fi system.

Shanling EC Play, $199 / €220 / £209.99, AdvancedMp3players.co.uk, En.Shanling.com

xDuoo CDM-10

A quirky pairing of technologies old and new, xDuoo’s CDM-10 is intended as a desktop player. Although there’s a seven-hour battery on board, it weighs in at nearly a kilogram, thanks to the integration of tube amplification.

This adds another layer of warmth and character to the playback, although there’s also a digital audio convertor onboard as well. The CDM-10 offers a plethora of wired outputs (but no Bluetooth), with a black aluminium aesthetic that evokes the classic Sony Professional Walkman.

xDuoo CDM-10, $429, xDuoo.com and £429 at Amazon

YBA Design One

The YBA Design One offers SACD (Super Audio CD) compatibility, the higher quality yet largely overlooked successor to the original CD format. The French company, set up by engineer Yves Bernard André in 1981, is better known for its component systems.

Design One is the company's first foray into the portable sphere. The player follows the same rigorous aesthetic as YBA’s other products, with five-and-a-half hours of battery playback and two sockets for wired headphones.

YBA Design One, RRP €1,848, information and stockists at YBAhifi.com

Premium MP3 players have been gradually creeping back into the mainstream courtesy of high-end, ultra-high-quality devices like the Astell & Kern PD20 and the FiiO M27. Even Sony, the original mobile music expert, has got back into the game with its premium-priced WM1AM2 hi-res Walkman.

But there’s also a groundswell of change at the entry level. For too long, cheap MP3 players meant taking a chance on an off-brand player with dubious quality, fidgety UI and a lifespan that could be measured in weeks, not years.

As new generations of music lovers discover the joys of personally curated collections and cutting the cord from streaming services (although not necessarily the cord to their headphones), smaller, nimbler music players that ape Apple’s original iPod and Nano are coming back into fashion.