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 just over ten 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 eight and 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, and its dual functionality as a straightforward Bluetooth speaker certainly helps.

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 Dial 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 dial 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 Dial 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 Fox 5 Renew stroller, £1,850, Bugaboo x Stella McCartney, available 15 September 2026 in store and 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.

We’ve assembled a selection of five new ultra-compact MP3 players that bring a sense of agency and accumulation back to music listening.

FiiO Echo Nano

Small, inexpensive but powerful, the Echo Nano from FiiO is an aluminium-made portable music player that supports lossless formats as well as the ubiquitous MP3. The angular body is made from CNC-machined aluminium-magnesium alloy, finished in a rainbow spectrum of pink, white, sky blue, green, purple and titanium silver.

Controls are via a tiny 0.91-inch OLED screen, with a multifunctional metal scroll wheel to scrub through tracks and playlists. As well as a traditional headphone socket the Echo Nano’s onboard digital audio converter can also be used to process sounds from a laptop. Weighing in at just 33.5 grams, the player offers up to seven hours of playback and supports microSD cards of up to 256GB.

FiiO Echo Nano, $49.99 / €55.99 / £54.99, FiiO.eu

FiiO JM21

For a more extensive feature set, FiiO also offers the JM21. Recently upgraded to include 64GB of onboard memory and a larger battery for up to 12.5 hours of playback, the JM21 has an Android-based UI, both 3.5mm and 4.4mm physical sockets and supports microSD cards up to 2TB in size, making it an ideal way of backing up a lifetime’s worth of music into a portable player.

FiiO JM21, £199 / €259.99, FiiO.eu

Shanling M0 Pura

Despite its tiny size – 35.8g – the fourth-generation version of Shanling’s M0 Pura player can support the current maximum 2TB microSD card (equivalent to 400 DVDs or around 3,000 CDs ripped at high-resolution quality, or around two years of high-quality MP3 files). The little Pura certainly owes a physical debt to the form factor of the original iPod Nano, with a 1.54-inch touch screen that takes up practically the whole surface of the player.

Available in black, vibrant orange or berry purple, it comes with both a headphone jack and Bluetooth connectivity and battery life is a projected nine hours plus. Adjustable playback speeds are also available for mainlining podcasts.

Shanling M0 Pura, Shanling.com, £95.59 at Amazon

Hidisz AP30 Music Boy

Currently Kickstarting, the AP30 Music Boy from Hidisz blends the scale of a Nano with the aesthetic of the early Game Boy. Support for up to 256GB microSD is paired with a playful interface on the 2-inch screen. It even includes a ‘block game’ (ie, Tetris) that’s accessed via the D-pad. Bluetooth connectivity is paired with both sizes of headphone jack, and the overall aesthetic is kawaii meets Minecraft.

Hidisz AP30 Music Boy, Hidizs.net, Kickstarter.com

Innioasis Y1

No prizes for guessing the source of visual inspiration between the Y1 from Innioasis. Available in no fewer than nine different colours, this iPod lookalike mimics the classic click-wheel format. As well as support for practically every audio format ever conceived, the Y1 can also play MP4 video, offering four hours of playback at 720p HD.

A built-in FM radio – with recording function – adds to the available options, and the Y1 will also serve as a portable image viewer and audiobook player. Bluetooth connectivity is available, although a pair of wired earbuds are supplied in the package. The Y1 comes in three storage sizes, 64GB, 128GB and 1TB.

Innioasis Y1, $65.99 for 64GB, Innioasis.com, £65.99 at Amazon

It’s been a characteristically busy few months for Nothing, with the launch of Phone (4a) and (4a) Pro, which were swiftly followed by the new Phone (4b). In terms of audio, the company has also seen unleashed the Ear (3a) series and the CMF Clip Pro.

All of this product has been overseen by Nothing’s London-based design team. Headed up by Nothing’s Global Design Director, Adam Bates, alongside a team that includes Lucy Birley, Associate Principal Design for Colour, Material and Finish (CMF, the industry term that gave its name to Nothing’s value line of tech) and Lead industrial designer Frank Lin.

Wallpaper* recently sat down with Birley and Lin at Nothing’s Kings Cross HQ to discuss the company’s current design strategy, and the influences, pressures and innovations that shape Nothing’s design language. Nothing’s studio often plays open house for launches and events.

Tucked away down a dead-end alley above the area’s thicket of rail lines, the non-descript building conceals a plethora of design and prototyping equipment, as well as a treasure trove of influential electronics from past and present.

One thing that stands out in recent launches is Nothing’s fresh approach to colour. This is Birley's purview. ‘My work is to expand the product palette,’ she says, ‘we’ve spent 18 months working on a more expressive palette that’s also softer and friendlier.’ It was only four years ago that Nothing arrived with a hard-edged, almost Cyberpunk styling approach, setting out its stall in a landscape of identikit Android phones.

‘It’s my job to think what the appropriate amount of colour is,’ Birley explains, and certainly the popping pink of the Ear (3a), which joins the yellow introduced in its predecessor, the Ear (a) earbuds, to start up a rainbow of potential.

These polychromatic stabs are not happening in a vacuum – they are carefully planned. ‘As designers, we want to undersell and over-deliver,’ says Frank Lin, ‘it’s so important to have a zoomed-out approach to colour, geometry and materiality.’

Colour therefore has to be chosen both for its harmonious presence in the product line-up, but also for its ability to be consistent in physical and digital form. ‘Most people experience a product for the first time digitally,’ Birley points out.

Nothing has always been about the details. The much-imitated transparent qualities of the early devices – prominent elements of which remain in the current line-up – were about ‘showing the level of care that we put into the product,’ says Lin, ‘there’s a saying in the studio about details – ‘God can see it’,’ he adds. The studio will 3D print over-scaled products to explore every nook and cranny of the design.

According to Lin, transparency ‘brings a level of rawness – you can directly see into a device, but you can also use it as a level of storytelling.’ He admits there’s a balance between honesty and abstraction in all Nothing’s products – those transparent backs don’t actually lay bare the inner workings of the phone but approximate them in a stylised way.

Once prototypes have been completed, there’s a period of reckoning. ‘We always sit with stuff for a long time in the team,’ says Lin, ‘everyone’s opinion is valid.’ Even a product as apparently simple as a pair of earbuds might go through 50 to 100 prototypes, which can then be laid out on tables for appraisal, sometimes alongside some of the sources of colour inspiration – a lipstick, a deck of cards.

Birley admits to being quite ‘magpie-like’ when it comes to seeing a colour in the wild and seizing it for future inspiration – ‘like a Prada mascara in Selfridges’. A huge library of colour samples has built up as a result. In practical terms, how a colour is applied is almost as important as the shade itself.

‘Surface finishes affects the perception of colour profoundly,’ she notes, as does lighting, materials and forms, not to mention different colour combinations. ‘People are often drawn to colours without realising it,’ she notes, explaining how the initial introduction of pink ‘caused some consternation’ in the company.

Tonal shifts are subtle yet distinct – the pink comes from taking Nothing’s established red and then turning down the saturation. The yellow used on Ear (a) versus Ear (3a) is different too, fresher and slightly less vibrant – the same new yellow finds its way onto the ear pads of the Headphone (a) as the original yellow made them look too much like ear defenders.

Then there’s the complexity of bringing colour to a tightly packaged, highly technical device. Are transparent parts painted? How can light leaks be mitigated? What happens with things like glue bubbles, ventilation, heat transfer, etc? Consistency between sprayed prototypes, 3D printed components and manufacturing prototypes must all be considered.

‘You can definitely overwhelm the consumer with choice,’ Birley concedes, before adding that ‘I used to work in fashion and I’m chronically online’ to justify how her immersion in the world of colour serves as a filter for the brand.

Past Nothing products have nodded towards the product design of the 70s and 80s, but with this new wave of colour there’s an acknowledgment of the more vibrant 90s and Noughties. Lin cites the colour work of movements as disparate as Memphis and the Bauhaus, as well as the optimism of the lime green era of Apple and its imitators.

‘Nothing stands for expression and going against the grain,’ Birley says, ‘consumers want to see a range of colours but might not always commit to it.’ Nevertheless, colour creates a bond, not just with the Nothing brand but with the products themselves, encouraging retention and longevity. ‘What do you want from your consumer technology?’, she asks rhetorically, ‘we’re lucky to work for a brand that is not particularly concerned with following trends.’

Hence the way last year’s Headphone (1) brought back physical controls instead of haptic, touch-sensitive ones. ‘Touch is great, but what is the context?’, Lin asks, ‘tactility is essential. Ultimately, freedom is what we love and what we want. We just hope the rest of the world agrees.’

Shop Nothing’s newest products

It will not have escaped your notice that ‘proper’ cameras are back, whether they’re decade-old point-and-shoot devices enjoying fresh popularity (and boosted prices), simple, screen-less digital snappers designed to focus the mind on the moment, or high-end semi-pro models designed to lure people away from their smartphone and back to more considered ways of image making.

Then there’s this, which sits somewhere in between. Sony’s RX10 range originally debuted back in 2013 as the Cyber-shot DSC-RX10, when the name ‘cyber-shot’ was still considered an essential and intriguing gateway into the world of digital photography (the name dates back to the 1996 DSC-F1). This is the fifth iteration of a camera that only reached its fourth generation in 2017. Sony has clearly been sitting on the model whilst watching the cultural shift in camera ownership and wondering when to step in and improve it.

The RX10’s secret weapon has always been its Zeiss zoom lens. Since the RX10 III, the camera has come equipped with a 24-600mm equivalent stabilized zoom, a massive piece of kit that lunges out of the camera body and brings the far distance into your viewfinder. The V is no different, with improved autofocus and burst modes.

Nine years of processor evolution has also upped the V’s speed and ability to handle large files, recognise and track subjects in line with Sony’s flagship Alpha cameras, as well as a high-res digital viewfinder and a snappier touch screen rear interface. Everything is better, in fact, from the longer battery life to the ability to shoot 4K/120 video and much, much more.

The Sony RX10 V is by no means a pocketable travel camera, although its sheer flexibility could conceivably cut down on packing if you’re normally taking two or three separate lenses. All in all, it offers a credible alternative to a digital SLR, capable of everything from serious portraiture, pro sports and wildlife work, to multi-purpose vlogging and simple point-and-shoot functionality.

Sony RX10 V, £2,199, Sony.co.uk, @Sony.UnitedKingdom

Whatever else you might think about London-based high-tech garment makers Vollebak, you have to admit that they’re having fun. Founded by twin brothers (and designers) Nick and Steve Tidball, Vollebak bills its garments as ‘clothes from the future’. In practice this means coats, jackets, t-shirts and more woven with a blend of eccentric materials, from silver-plated wood pulp, to graphene, ancient dyes, copper and even electromagnetic shielding.

The firm also loves its stunts, from the recent Sonic Jacket (loaded with 180 speakers to pump frequencies from 4 Hz to 20,000 Hz across your body for a transcendental experience) to the Spaceshop, a futuristic retail unit created in collaboration with Bang & Olufsen. There was even a plan for a Bjarke Ingels-designed island retreat in Nova Scotia.

Their latest release comes drenched in unabashedly AI-generated imagery. This is the limited edition FWAHBL Jacket, designed ‘For When All Hell Breaks Loose’. Made in a strictly limited edition of just ten units, the jacket uses the vivid yellow material seen in fully airtight chemical protection suits.

Transformed into a stylish trench cut, the material was developed in collaboration with the Fothergill Group, a 179-year-old British company with its roots in cotton weaving and Khaki uniform manufacturing. Fothergill still supplies the British Army with cutting edge protective material.

The enemy here is strictly virtual, conjured up in a vivid, eye-melting comic book that’s all part of an elaborate packaging and promotional strategy. This also includes a film trailer and retro-game style packaging, with the promise of a playable video game down the line. The slightly dead hand of AI can be easily detected in all of this, but the curation is on point and, frankly, Vollebak just ploughs on regardless, armed with a manic grin and enough chutzpah to sink a battleship.

The material itself is a double-faced polychloroprene rubber, coated onto both sides of a woven polyester core. When deployed in disaster zones – chemical spills, industrial accidents, etc., - the material is tough enough to resist oils, ozone and fire. Hence the creation of a virtual world of peril to accompany the launch, struck through with 8-bit video game aesthetics, the language of final boss fights and pixelated explosions.

‘The design is a love letter to 40 years of gaming, moving through the 8-bit arcade cabinets of the 80s, the home console adventures of the 90s, the shooters and action epics that followed, and today's near photorealistic worlds,’ Vollebak says, before rowing back a little on the garment’s impervious and impermeable status. ‘The FWAHBL Jacket is not certified safety equipment. It's built for bad weather and existential dread, not actual chemical spills.’

It might not save you from vomiting unicorns, but if you’re after instant mad scientist/superhero vibes, the FWAHBL Jacket certainly stands out from the crowd.

Vollebak FWAHBL Jacket, £2,995, Vollebak.com, @Vollebak

Up until now, the clip format of earbuds hasn’t really grabbed us. A mix between the traditional in-ear, AirPod-style bud and the classic over-ear headphone cup, clips are meant to combine the best of both worlds. For a start, your ear canal isn’t blocked by a tiny silicone-swathed speaker, meaning that the world outside can still be heard, whereas the quality of the tech allows for perfect delivery of sound.

They’re also a lot more comfortable and less likely to fall out, clipping on to your ear lobe and providing an easier control surface for pausing, forwarding through tracks or taking calls. Finally, clips are barely bigger than earbuds, meaning you don’t have to haul around a hefty over-ear carry case.

Aside from situations where blocking out the world is the aim of the game – air travel, underground trains, etc – clips can be a lot more sociable than earbuds. CMF, Nothing’s more colourful and affordable offshoot, has now joined the ranks of audio companies offering clip-style headphones. The CMF Clip Pro takes a similar approach to Nothing’s Ear (Open), albeit with a very different form factor.

So do they work? Undeniably. Clip Pro combines easy ergonomics with a tactile interface, courtesy of the Smart Dial on the charging case. CMF’s ‘OpenFit Arc’ system sits on the ears without exerting excessing pressure, making the Clip Pro seriously comfortable for long bouts of listening.

Designed to accommodate practically every kid of ear shape, the driver itself – a 10.8mm dynamic unit – sits within a 13.8mm ‘listening ball’ that projects sound into the ear.

One criticism of clip-style headphones is that they don’t necessarily distribute the most powerful, deep bass. CMF have compensated for this with a special bass boost algorithm, as well as two modes designed to reduce sound leakage for music and voice.

Not that there was any noticeable leakage in our tests, even with the volume turned way up high. Only in a complete absence of background noise might others be able to detect a noise. Twin microphones help with call quality – one of the units has a dedicated wind-resistant design.

Whilst the Nothing brand has started making a splash with new colourways, CMF is keeping things relatively classic. Clip Pro is available in Light Grey, Dark Grey, and Coral, complete with matching case. The latter houses CMF’s Smart Dial, a tactile, clicky wheel atop the charge case that can be used to stop and start the music as well as change volume.

The form factor also allows for a slightly larger battery, with 10 hours of playback alone from the Clip Pro themselves and another 22.5 hours added via a fully charged case. There’s also a long battery mode that can stretch the battery to 36 hours, whilst a ten-minute charge in the case should be enough to add four hours of extra listening time.

CMF products like the Phone 2 Pro and Headphone Pro strip back the Nothing design language and lightly limit the functionality to deliver excellent value. CMF Clip Pro is more of the same.

CMF Clip Pro, £79, Nothing.tech, @Nothing

Could 2026 finally be the year of the foldable? All eyes are on Apple, with speculation ramping up that this autumn’s ‘September Event’ will finally see the reveal of the long-awaited iPhone Fold. Various names have been suggested, including iPhone Ultra, but regardless of the appellation, Apple’s involvement will add a welcome boost to a niche sector.

But even Apple can’t guarantee the viability of the folding sector. If its product flops – and although missteps from Cupertino are rare, they do happen – then it’ll put pressure on other manufacturers to move away from these expensive, low-volume devices.

If you really need a bigger screen, accept that you’ll be paying a premium for a delicate technology with a potentially shorter shelf life. Ahead of Apple’s expected September unveil, here are five current ways to get a folding screen in your pocket.

Honor Magic V6

The recently launched Honor Magic V6 foldable is a formidable performer, with a colossal battery (6600mAh) packed into a slender 8.75mm deep frame. When opened up, the inner OLED screen is 7.95 inches across, with a large 6.43-inch outer screen for day-to-day use.

The camera package includes a 64MP Telephoto lens, among others, and Honor has pushed hard to make the Magic V6 a trusted companion to the Apple eco-system (even though it runs Honor’s version of Android, Magic OS). The phone’s most distinctive feature is its decidedly non-standard aesthetic; with its red back and gold trim, it is a world apart from the mainstream.

Honor Magic V6, £1,999 (although major discounts and bundles are available), Honor.com

Samsung Galaxy Z Fold8

Samsung is a pioneer in the folding phone sphere, taking technical missteps and reputational hits along the way for being first to market with the original 2018 Samsung Galaxy Fold. That’s all ancient history thanks to rapid product cycles. The latest generation of foldable Galaxy phones are the thinnest and most sophisticated yet.

Our pick of the current crop of foldables is the Galaxy Z Fold8, which stands out by virtue of its size and proportions. With a 4:3 ratio screen, the Z Fold8 has a 7.6-inch internal screen and a compact 5.5-inch external screen. Wider but shorter than a regular phone, it manages to combine compact and lightweight pocketability (it weighs 201g) with a big-screen experience.

Samsung Galaxy Z Fold8, from £1,699, Samsung.com

Motorola Razr 70 Ultra

Folding screen flip phones are pretty much Motorola’s domain, although Honor and Xiaomi also manufacture this niche-within-a-niche. The company was the progenitor of the original old-school V Series flip phones, way back in the 1990s, then the cult Razr models from the noughties.

The name was revived for the current era of compact foldables, which combine a compact, multifunction outer screen that cuts down on incessant checking, with a large 7-inch inner display when you want as much screen real estate as possible. Samsung’s new Galaxy Z Flip8 and the Oppo Find N2 Flip are your key alternatives.

Motorola Razr 70 Ultra, from £1,199.99, Motorola.com

Huawei Mate XT

One of the only triple-screen foldable phones to make it to market (alongside the now discontinued Samsung Galaxy Z TriFold), the Huawei Mate XT is becoming extremely hard to come by.

The massive 10.2-inch screen unfurls like a paper pocket map (remember those), with one segment forming the external 6.4-inch screen when it’s all folded up. Delicate, hugely complex, understandably expensive and still probably a step too far for even the most eager of early adopters, it probably won’t be the last time this form factor is explored.

Consumer.Huawei.com

Google Pixel 10 Pro Fold

Now is a good time to get a discount on the outgoing Pixel 10 Pro Fold, ahead of Google’s new product launch in mid-August and the arrival of what’s expected to be called the Pixel 11 Pro Fold (unsurprisingly). Google’s folding devices are still very niche and make up a small percentage of all Pixel sales.

The 6.4-inch external display opens up to reveal an 8-inch internal display with similar proportions to the Honor Magic 6. Durability was said to have been improved over the 9 Pro Fold but the screen crease is now quite prominent in comparison to rivals, as is the relatively chunky feel of the folded device.

Google Pixel 10 Pro Fold, from £1,299, Store.Google.com

I first met Manpei Tsurubayashi, owner, designer, and craftsman of the omnidirectional speaker brand Listude, back in 2018 when I interviewed him for a Wallpaper* Trip story on the city of Nara. He and his wife, Anna Hasegawa, had converted a large sushi restaurant on the outskirts of the city with a listening and event space on the upper floors and a workshop on the ground floor, where Tsurubayashi was building his speakers.

The brand, founded in 2007, was originally called Sonihouse, but changed to Listude (a portmanteau of listen and attitude) in 2021. In 2025, after three years of planning and building, the company moved to a private enclave nestled among tall red pines in Yamanashi. The purpose-built concert-hall-workshop-listening studio and living areas were designed by the couple’s longtime friend Yoshiaki Nagasaka of Hitotomori Architects.

‘I had been delivering speakers to musicians, such as Yuni Mori and Gen Tanabe, and local cafés and restaurants in the area for some time, and really felt there was a good community of musicians, artists and people making great food and wine,’ Tsurubayashi explains as his reason for deciding to move shop from Nara to the small city of Hokuto in Yamanashi. His speakers seem to connect like-minded people, be it musical artists like Mori, or Eishi Okamoto from Beau Paysage winery.

When a local real estate agent showed him the roughly 1,000 sq m plot in 2022, Tsurubayashi decided on the spot that this would be the new home, not just of Listude, but also for his family of four. ‘The site slopes gently, and I had this early vision of using this natural slope to make an outdoor stage for concerts,’ he reminisces. Tsurubayashi also knew he wanted the project to include a large concert hall, outdoor stage and listening room, as well as a production area for his product.

Nagasaka managed to fit all of this into a simple rectangular volume. Two levels are split in the middle by an opening that leads to an outdoor stage with simple bench seating in the adjacent woods. The front part of the building houses the production workshop and offices on the ground floor. A spiral staircase outside leads up to the listening room with its large picture window looking out onto the nearby forest. At the back are the family’s private living quarters.

The entire rear of the building forms a double-height concert hall, open to the forest on two sides. Six Scenery speakers by Listude hang from the ceiling, with wall-mounted sound panels made by Tsurubayashi himself using thick curtain fabric and wooden frames. ‘It’s very hard to find good sound panels in the exact sizes I wanted. And as I studied art, I am pretty good at building canvases,’ he says.

Tsurubayashi hired acoustic specialist Hiroshi Suzuki to reduce electro-magnetic noise in both the sound system in the concert hall and the listening room using two separate circuits; one for machinery, office and living use and the other for the audio equipment in the listening room and concert hall.

Listude has already tested the system with concerts, both inside and outside. The sound, as expected, is crisp and clear like the forest that surrounds the new home of this innovative Japanese speaker brand.

listude.jp

hitotomori.net

Listude’s Scenery series of speakers

Could neo-organic product design be making a comeback? From lozenge-like iMacs to quirky mobile devices, fluid forms were everywhere in tech two decades ago. Now the curve is back, courtesy of the new LS Luxe speakers from KEF.

The venerable British hi-fi brand was founded in 1961 as Kent Engineering and Foundry. In recent years, KEF has continued to work closely with industrial designers, including earlier collaborations with Lovegrove (on the Mu headphones and Muo portable speaker) and the late Sir Terence Conran. Lovegrove has returned to give form to the LS Luxe, a compact speaker with a 6.5-inch driver at its heart.

Lovegrove’s hand is immediately obvious, giving the speaker enclosure a fluid, curvaceous form that is a world away from the crisp-edged black and wooden boxes that are currently so popular. KEF is leaning into the luxurious aspect of this design, with the wireless capabilities of the LS Luxe facilitating their placement as standalone objects well away from the source of the music.

‘True luxury doesn't announce itself – it transforms the atmosphere of a space, blending design excellence and acoustic mastery in a way that feels both immersive and effortless,’ says KEF’s president & head of global marketing Grace Lo. ‘When people ask what luxury sounds like, this is our answer.’

The three colour finishes are designed to emphasise the smooth, curvaceous surfacing. They include Dusk Titanium, Eclipse Black, and Mineral White, and the speakers are paired with KEF’s C3 Remote. There are also optional S-Lixe floor stands with integrated cable management.

Each speaker contains a 100W Class AB and 280W Class D current-drive amplifier per speaker and uses KEF’s own W2 Wireless Platform to connect with the core streaming services through its app, including Amazon Music, Tidal, Qobuz, Deezer, and others.

The speakers can also be connected to directly from proprietary streaming apps and services. Physical connectivity is also on board for linking up to TVs, consoles, CD players and turntables.

KEF LS Luxe Speakers £3,500 / €4,000 / $4,000 per pair, floorstand sold separately, uk.kef.com, @kef.eu

It might not exist just yet beyond these initial renders, but Aeros is the latest contender in the burgeoning anti-smartphone movement. Unlike other so-called ‘dumb phones’, the ultra-compact new phone from the Norwegian company takes a different tack in the quest to tone down device domination – its size.

With a 4.4-inch screen, the Aeros phone is essentially half the size of a regular contemporary phone. ‘Our whole philosophy fits in four words – less screen, more life,’ says Aeros’ founder Tor Oveland Vimme. ‘We exist because of a simple observation: screens keep growing, and so does the time we spend on them.’

Oveland Vimme cites not only the growing legislative resistance towards early adoption of smartphones (‘Australia's under-16 social media ban – a world first – came into force in December; Denmark is moving towards a ban for under-15s; our home country, Norway, has its own age-limit bill on the way,’ he notes), but reckons that new laws and industry-driven ‘solutions’ aren’t necessarily enough.

‘Most of the industry's answers are software: screen-time dashboards, app timers, locks,’ Oveland Vimme continues from the company’s base in Kristiansand. ‘To us, that is like handing a child in a sweet shop the key to the sweet shop – the lock does not change the appetite. You have to change the feeling itself.’ Hence the decision to veer off the upgrade path and essentially downgrade the smartphone without losing any core functionality.

‘Every new generation of phones ships a slightly bigger, slightly brighter screen, and the hours follow it,’ Oveland Vimme says. ‘We want to build a deliberately smaller one, without giving up the modern essentials people rightly expect: payments, maps, camera, messaging.’ The Aeros isn’t for consuming video media or getting distracted by doomscrolling, nor is it a semi-pro image-making machine (even though there are front and rear cameras).

‘Our first phone, the Aeros Juno, was this idea made real: a 4-inch Android phone weighing 106 grams, running our own interface, Aeros One UI – calm, stripped back, nothing shouting for attention,’ says Oveland Vimme. ‘We launched in Norway in April 2026; the first 100 units sold out, and a Founder's Edition of 200 is currently selling in Sweden.’

Now Aeros wants to crowdfund its next step. ‘We are designing our own phone from the ground up,’ the founder explains. ‘Our website says exactly what it is – a concept, a phone that does not exist yet. Reservations are fully refundable until production is funded, and the milestones are public before anyone commits a krone.’

There’s a list of shiny renders and specifications (‘every spec is a target’), with the goal of raising $222,000 by the end of 2026 to lock in the design and create the tooling and the moulds. Finding ways to redress the imbalance of social media doesn’t seem to come easily. Aeros’ pitch preserves the status quo but simply dials down unnecessary engagement, making it perhaps the smartest phone of all.

Aeros mini phone, $399 to reserve, Aeros.no, Aerosphone.com, @Aerosphone

Launched alongside a trio of new folding phones, the Galaxy Watch Ultra2 and Galaxy Watch9 are the company’s most sophisticated smart watch offerings to date. In particular, the new Watch Ultra2 is Samsung’s play for dominance in the burgeoning smart sport watch sector, a multi-activity tracker and tracer that crams in metrics on almost every conceivable activity.

It’s joined by the Watch9, a sleeker and less overtly rugged everyday device that wants to put health habits at the forefront of your activities. Samsung describes its offerings as a ‘gateway to AI-driven health intelligence,’ and like all smartwatch ecosystems, how much you get out of all this activity tracking and data gathering is very much down how reliant you want to become on your wrist computer.

The Samsung Galaxy Watch Ultra2 is designed to be rugged and completely waterproof, with professional dive tracking available right out of the box – a dedicated dive app will come later this year, developed in conjunction with diving technology brand Mares. For now, enthusiasts can get water temperature, depth and dive duration measurements. Other app trials provided with the watch include 60 days of Strava and a two-month trial of iFIT, the online trainer programme.

Other updates include a Trail Run feature that incorporates elevation data and even ‘terrain impact’ measurements that warn against overstressing yourself. An onboard Nutrition Alert system bolster the existing Sweat Loss feature, calculating when best to take on more water.

Both Watch Ultra2 and Watch9 share a BioActive sensor to track huge quantities of health data, all of which is then processed and analysed in conjunction with your own past history and comparable data from the company’s health dataset. Billed as an advanced preventive care vision, the modern Galaxy Watch series isn’t just about movement but also hearing, heart health, cardio and sleep.

The latter requires 24/7 use, so steps have been taken to bolster the comfort and the battery life of each model. Galaxy Watch Ultra2, which is available in 47 mm only, comes with 800 mAh battery (35 per cent larger than its predecessor), along with the Snapdragon Wear Elite processor. The screen is brighter than ever before, and GPS tracking has been made more accurate. Nevertheless, the casing is still slimmer than the first Ultra watch.

Galaxy Watch 9 does away with the numbered bezel and ruggedised case, with aluminium detailing for a crisp, light fit. The battery is under half the size (390 mAh) but that should still be good enough for up to 40 hours of use (the Ultra2 offers 60 hours). Case sizes are 40mm and 44mm. Samsung has also expanded its collection of smartwatch bands for both devices, using silicone, hybrid material and classic fabric in a variety of colours.

Forgive our impetuousness. In the same week that American neo-luddites The Light Phone launched their new Light Flip, Samsung just happened to have its annual Unpacked event, stuffed full of shiny new tech to distract, divert and embed you ever deeper into the digital realm.

It’s pretty hard to divest oneself completely of the sophisticated smartphone ecosystem that has extended its tendrils deep into every facet of our lives. If you can switch to a Light Phone Flip and start again from scratch, more power to you.

But the lure of the new is strong, and Samsung’s newest suite of products join the Galaxy S26 family, this time with a focus on folding. They are the Galaxy Z Fold8, Z Fold8 Ultra, Z Flip8, a trio launched alongside the new Watch Ultra2 and Galaxy Watch9.

This new drop includes an all-new form factor, the Galaxy Z Fold8. This ultra-light foldable is slightly wider but not as tall as a regular phone, but folds out into a compact, tablet-proportioned screen with a 4:3 ratio, with a diagonal measurement of 7.6 inches when open (for comparison, Apple's iPad mini measures 8.3 inches).

It joins the small-form-factor Galaxy Z Flip8 and the flagship Galaxy Z Fold8 Ultra, all of which share Samsung’s ‘Emotive Geometry’ approach to industrial design.

We spoke to Hubert Lee, Samsung’s executive vice-president and head of the mobile experience design team, about the clutch of new creations, the design language that underpins them and how Samsung’s R&D team tackles the speed of technological innovation.

Wallpaper*: Are there any precedents for the 'Emotive Geometry' approach? Something in Samsung's history or culture? Or is it a new approach made possible by new techniques?

Hubert Lee: Emotive Geometry is the next evolution of Samsung's Essential Design philosophy, which has long focused on creating products that are simple, impactful and emotionally engaging. It is not about creating an entirely new design language. Instead, we’re evolving our existing design philosophy to better express the human side of technology. As AI becomes a more natural part of everyday life, we believe design must also create a stronger sense of comfort and emotional connection.

Galaxy S26 series’ Ambient Island camera design is one of the great examples of this approach. We focused on configuring the design to ensure that the performance-driven structure designed for functionality feel intuitive and natural to the user. We adopted a gently translucent material, so it appears more visually integrated and emotionally resonant.

The Galaxy Z8 series takes that philosophy further. Because a foldable is experienced through constant physical interaction, we focused on how the device feels in everyday use, from its proportions and symmetry to the way it opens. It rests in the hand and naturally guides each interaction. Emotive Geometry is about making those moments feel intuitive, comfortable and emotionally connected to the user.

W*: How does Samsung approach the integration of AI into hardware as opposed to just software? Is this something customers want?

HL: As AI becomes more integrated into everyday life, we've learned that people don't just want more AI features, they want interactions that feel more natural and effortless. As the role of mobile phone evolves, the physical design needs to evolve alongside it. It's no longer enough for AI to exist in software alone. The product itself should also support those interactions in a way that feels effortless.

From a design perspective, our role is to ensure the physical experience complements those interactions. One example is our decision to assign AI to a dedicated physical side key. We chose to integrate the function since we believe the most advanced technology should also be the most natural to access.

For foldables, the versatile form factor unlocks new possibilities for AI – like Fold8 Ultra’s large screen optimized for multitasking side-by-side, Flip8’s FlexWindow, or Fold8’s new screen ratio perfect for one-hand grip. Our goal is not simply to offer AI features. We aim to create AI experiences that are thoughtfully integrated with each form factor, the way people use it, and the specific moments in which they interact with the device.

W*: How quickly do material innovations find their way into the marketplace in actual consumer products?

HL: At Samsung, we focus on selecting and evolving materials that are best suited to each product's identity, positioning and uses. Every material must meet our rigorous standards for quality, durability and reliability before it reaches consumers.

W*: How big is Samsung's R&D team and what areas do they focus on regarding industrial design?

HL: Our design organisation brings together teams across multiple studios around the world, united by a shared belief that meaningful design begins with understanding how people live, work and express themselves. We share a common culture built on collaboration and openness.

Designers work closely with engineering, product planning and many other teams from the earliest stages of development, combining deep user insight with technical expertise. This continuous collaboration allows us to refine every detail, creating products that feel more intuitive, comfortable and thoughtfully designed.

The Galaxy Watch series reflects this approach. We use what we call Computational Design, combining AI and advances in computing with design expertise to better understand wearability across a diverse range of users. This helps us refine details such as fit, balance and proportions with greater precision, so the watch feels comfortable from the moment it’s worn.

What do you get the tech bro, crypto sis or picky audiophile pal who has everything? How about half-a-million quid’s worth of hi-fi equipment?

That’s the approximate retail value of AMR’s Luna Series luxury audio collection: the Luna Ingenii DAC, the Luna Medii preamplifier and the Luna Procellarum monoblock power amplifier. A decade in the R&D, designed in collaboration with the Grateful Dead’s fabled sound engineer, in a limited run of 148 sets, using components that don’t – and won’t – exist anymore: this is, in a very real sense, an amp that goes all the way up to, well, 111.

And while the sound will make your ears tingle, the price might make your eyes water: £441,000. ‘Basically, we wanted to push the boundaries of what audio technology could achieve in terms of resolving sound,’ explains Miles Roberts, global sales director for Southport-based Abbingdon Music Research. ‘Some of the technology that we've got in here is based on components that we actually bought the final runs of about ten years ago.’

Roberts is talking in Fitzrovia, central London, in the uber-plush basement lounge – think Bond villain’s lair, with snacks – of Cornflake, the smart-home automation and media-room installation specialist. AMR has booked out the space to demonstrate the kit it has carefully freighted south from Merseyside in custom-built Pelican flight cases, the combined weight as hefty as the price tag, some 80kg per component.

‘What we wanted to do is achieve a representation of music which was as near to reality as you could possibly get. It's taken us the better part of ten to 12 years to do that with this system,’ continues Roberts. To help them reach their ultra-audio goal, they enlisted John Curl, an electronics engineer and audio designer renowned in music and beyond, notably for his role in co-developing The Grateful Dead’s Wall of Sound, the band’s legendary live-concert sound system.

‘John always wanted to make a particular amplifier that was unique in the world, which is a four-quadrant, push-pull amplifier. And we're the only company that could work with him to do that. So that's what you see before you now.’ Before me now are a pair of what look like mini-Ancient Egyptian sarcophagi. Gleaming and gold-trimmed, those are the components that make up the Luna Procellarum monoblock power amplifier. Why two?

‘Because in true music systems, you generally have what's called dual mono, or separate left-right, so there's no interference between the left and right channel. We've got a 1200-watt-output monoblock for each side, for each speaker. And there's no interference between the left and right whatsoever.’

When it comes to the high-tech audiophiliac spec, Roberts has plenty more where that came from. But to cut to the chase: what makes the system so expensive? ‘It's a combination of the cost of the components, the engineering time and the limited accessibility. These will probably become collectable items. Due to the fact that we've bought all the components to make these, we can only make 148 sets. So it's a bit like a fine whisky or a Ferrari. There's only a limited number of these that can ever be made. And that's the end.’

It is, then, likely to pique the interest of ‘high-net-worth individuals who have the yacht, the Porsche, the villa in Greece. They like the finer things in life, and they're always striving to get to perfection.’

Beyond that, the ideal client, apart from a wealthy one, is ‘someone that really appreciates music. And that music doesn't have to be classical,’ Roberts adds, and duly indulges me with a playlist of ear-treat tunes across various genres: Melody Gardot’s ‘If You Love Me’, Simon & Garfunkel’s ‘Mrs Robinson’, the theme from Where Eagles Dare and, just to give the system a full work-out, Martin Garrix’s monster dance track ‘Funk’. As he says, ‘that’ll test pretty much any speaker!’

Having launched the system at June 2026’s High End Vienna trade fair (‘the international meeting place for everyone who wants to help shape the future of audio technology and experience sound at its finest’), AMR has already had ‘some serious interest from the customer base. So I don't think we'll struggle. But at the same time, there isn't someone around every corner that's going to spend half a million pounds on a hi-fi system.’

At least it’s straightforward to use – Roberts is playing the tunes to me on streaming platform Qobuz. ‘You don't have to relearn an operating system or anything like that. You can use whatever [to play your music] – Spotify, Tidal, Apple Music. Or if you were a real audiophile, you might have a big collection on hard drive. So it's accessible. You don't need to be a rocket scientist to drive it.’

But you might need to be a rocket owner to afford it.

AMR’s Luna Series is available from Q1 2027. Interested buyers should visit AMR-Audio.co.uk, @AMR_Audio

We get on very well with the Light Phone III, a beautifully engineered touchscreen phone that wasn’t afraid to act a little dumb. The III eschewed the app-flashed frenzy of the modern home screen in favour of minimal text and even more minimal functionality; using the device means cutting a lot from your life, from social media to online banking, WhatsApp and much, much more.

That, however, is very much the point. At a time of growing evidence about the nefarious tricks of the algorithmic trade – let alone the damage wrought by feeds that run amok in an age of deliberate misinformation.

Now Light is back, shining its focus on a new sector. Welcome to the Light Phone Flip, the company’s fourth device and its first-ever flip phone. As we’ve often observed, the contemporary flip phone sits within a weird evolutionary niche. On the one hand, there’s the folding screen models typified by Motorola’s razr series or the Samsung Z Flip7 or the Honor Magic V Flip2.

None of these clever pieces of tech does anything to solve the attention issue. To really dig into the disavowal of modern mobile culture, you need to switch to something like HMD’s 2660 Flip 4G, a self-proclaimed dose of digital detox.

Light thinks differently, taking inspiration from each corner and finding itself with an original offering as a result. Founded by Joe Hollier and Kaiwei Tang, the company has quietly garnered more and more interest as our collective attention spans implode through abuse.

Step one was to make the Light Phone Flip more affordable (the III, with its solid metal case, is $699, soon rising to $899 due to chip shortages). The Flip can be yours for $300, with a contract offering of $39/month for 24 months. The company functions as a virtual operator in the US, UK and Canada, another way of making the device cheaper.

As a result, the company is cultivating an active developer community, with a freshy open-sourced operating system and a burgeoning list of apps developed to add specific layers of functionality. As with many esoteric electronic devices, getting under the hood is half the fun for users, many of whom pride themselves on their tech savviness and don’t find any rewards in the padlocked walled gardens owned by Apple and Google.

Step two is to grow the Light community. One of the instigating events behind the design of the Light Phone Flip was the founders’ experience of The Luddite Club, a joking-not-joking organisation originally founded by a group of Brooklyn teens angry at the corporate overreach into mental health and community via the pervasive and intrusive dominance of the smartphone.

Light Phone III was already making inroads in the community, but the flip format still retained a certain cachet – close the phone, close off all digital communication.

It’s been 20 years since the original Motorola Razr made flip phones into fashion objects. Kai Tang just happened to be a member of the original design team behind the Razr, so effectively the form factor has come full circle. Light Phone Flip doubles down on what Hollier calls the ‘symbolic closure’ of the phone, with a hefty reinforced hinge and a deliberate lack of external screens (save for a single notification light).

‘We felt there was a huge opportunity [for a flip phone] with our OS and eco-system,’ says Hollier. ‘We’re uniquely positioned with our experience.’ Decrying the flimsy, often toy-like nature of many contemporary flips, Light has charged itself with shaping a solid device that offers more without feeling like less.

Hollier calls Light’s Flip a ‘cousin’ to the III. The basic functionality and OS are the same, with a slightly lighter feature set. There’s no NFC sensor or forward-facing selfie camera, for example, nor is the screen touch operated. Instead, there’s a traditional number pad and D-pad controller, with old-school T9 text input. In short, it really prioritises phone calls above all else.

‘Gen Z feel like they were robbed by big tech,’ Hollier explains. ‘Even III feels a bit too much like a smartphone. They tell us that AI is seeping into every aspect of their lives and they hate it.’ (No prizes at all to HMD for recently launching four ‘dumb phones’ with dedicated AI assistant buttons.)

Hence the ongoing quest for the deliberate friction created by earlier device generations, from CD players and wired headphones to digital cameras. It’s this anti-AI generation that has driven Light to pursue the flip format. ‘We were convinced by our young users, people who have never had smartphones, avoiding all the drama of social media,’ says Tang.

Light Phone Flip users won’t be cutting themselves off completely from the world. The latest version of Light’s custom Android OS, LightOS, provides navigation, messaging, photo management, note-taking and a media player (the phone reintroduces the beloved 3.5-inch headphone jacket).

‘When you close the phone it’s all matte,’ Tang says. ‘There’s nothing other than the speaker grille and a notification light.’ In short, it’s not continually trying to lure you back into rambling back and forth conversation or a doomscrolling session.

In a nod to youth and fashion, the Flip is available in six colours, yellow, red, grey, dark blue, pink and white. Made from plastic, with a replaceable battery, Light Phone Flip is more accessible in every way. ‘We cut no corners with III,’ Hollier admits. This new phone has been engineered to reach a wider, younger audience.

This is all the better for expanding the community. ‘Over the last five years, we’ve had so many users who are also developers,’ Hollier says. ‘We realised that these people are aligned with us. It reminds me of the early days of the internet.’

As mentioned earlier, this community is building new tools, emboldened by the open source OS, further embedding Light Phone into a movement for change. ‘The open source mentality really aligns with our approach,’ Tang acknowledges. ‘It helps eliminate the nagging attention economy of every single modern app.’

Accompanying the launch of the Flip is a biweekly newsletter, Flip Your Life, that taps into the community spirit and helps those who want to make the (perhaps daunting) journey away from a social media world.

‘When we originally launched, people didn’t get it,’ Hollier says. ‘Now, they do. But they say, “I wish I could [switch to Light], but….’ So we want to help them.’

‘It’s a process, not a one-time thing,’ Tang acknowledges. ‘Quitting addiction is not an easy process.’

The backlash against an always-online society is slow but steady. Light has made an excellent tool that’s sure to help hurry things along.

Light Phone Flip, details at TheLightPhone.com, @TheLightPhone

It turns out that portability is the key to happy living with a projector. The old days of having a hefty machine hard-wired into the ceiling to approximate a cinematic screening room have long been usurped by compact, powerful devices that are happy to be moved from room to room depending on the occasion.

XGIMI is boosting its projector portfolio with two new products, following on from last year’s ultra-compact Vibe One. The new Elfin Flip 4K and Elfin Flip Laser replace the Elfin Flip Plus, with the former bringing 4K projection for the first time and both units incorporating a new RGB Triple Laser system offering triple the brightness of their predecessor.

Both projectors share an ultra-compact form language, with an exterior armature that protects the lens when not in use and serves as a frame and stand – or even carrying handle for the 1.55kg unit – to keep it steady when in use. The projector can be rotated through 150 degrees using this frame so ceiling projection is definitely on the table.

Onboard technology includes a Harmon Kardon speaker with Dolby Audio support and inbuilt Google TV. The 4K model is the one to choose for gaming performance – it pairs a brightness of 1,600 ISO Lumens with a contrast ratio of 20,000:1 (eg, the brightest point is around 20,000 times brighter than the darkest black) – the earlier Flip Plus managed a CR of 4,000:1.

There’s also on onboard optical zoom to help with picture set-up and the projectors have a sensor that can adapt the colour balance depending on the shade of paint on your wall. This works hand in hand with XGIMI’s Intelligent Screen Adapt (ISA) technology that provides auto keystone and focus modes. Connectivity includes Bluetooth 5.2, USB and HDMI for casting from laptops and phones.

At just 24.5cm wide, the compact unit can create a projection between 40 and 200 inches, making it an excellent choice for inside or out. Finally, there’s XGIMI’s own quirky WALL app, which transforms the projection into a wall-sized screensaver with a variety of ambient and exotic places to have running in the background.

XGIMI Elfin Flip Laser, £689, and XGIMI Elfin Flip 4K, £869, also available at uk.xgimi.com

All credit to We Are Rewind for taking the cult of the cassette to new and unexpected places. Not content with being amongst the first manufacturers to get back into the format back in 2022, the French company has continued to keep the compact cassette in the hearts and minds of analogue fetishists with a slew of limited editions, including the colourful Edith WE-001 and the Curtis GB-001 boombox.

Now there’s yet another edition of the WE-001, only this time the company has tapped into the motherlode of sonic creativity by teaming up with none other than Pink Floyd. This collaboration steps right back into the 1970s with graphics inspired by The Dark Side of the Moon, the 1973 album that has already been honoured with its own turntable courtesy of Pro-Ject Audio Systems as well as countless reissues (and even a Pentagram-designed box set).

Pink Floyd completists will now have to dig deep once more, because accompanying the Pink Floyd X We Are Rewind cassette player is an exclusive new release of the album on tape – the only way you can get the 50th anniversary remaster in this format, to be precise. Back in the day, Dark Side sold impressively well on cassette, making up a substantial chunk of the album’s 50 million sales.

This edition of the WE-001 has all the goodness of the regular model – Bluetooth 5.1 as well as a wired headphone jack, built-in rechargeable battery, recording ability via line-in and an (optional) belt clip.

But aren’t the icons of audiophile quality space rock a little above the wow and flutter of the analogue cassette deck? According to Pink Floyd’s venerable drummer Nick Mason, definitely not. ‘I still have enormous affection for the cassette,’ Mason says, ‘It really was a major breakthrough – not only with the Sony Walkman but with some of the more up-market recorders. I still have my Nakamichi on the shelf and look forward to testing it with the new The Dark Side of the Moon cassette.’

For We Are Rewind’s founder and CEO Romain Boudruche, the tie-in is a perfect one. ‘To call The Dark Side of the Moon a classic album is an understatement. In many ways, it set the tone for what an album experience should be as a continuous piece of sonic art but also used state-of-the-art production techniques and sounds which make it a true musical experience,’ Boudruche says. ‘We're happy that We Are Rewind can play a part in helping preserve the physical album experience.’

In this age of retro-tech and intentional disruption, the last word goes to Mason. ‘Am I correct in assuming that the next major issue will be The Dark Side of the Moon in a large package consisting of the album divided up into 78 RPM discs?’ he asks. Our money is on a wax cylinder edition for the album’s centenary.

We Are Rewind X Pink Floyd WE-001, €179 / £159 / $199, WeAreRewind.com, @WeAreRewind

Some might like it hot but the rest of us find plus-30°C temperatures an ongoing trial, especially in spots where the installation of air con is simply impossible – centuries-old townhouses and Tube stations, we’re looking at you. Here’s our guide to the best in pocketable airflow management to help you beat the heat.

Dyson HushJet Mini Cool fan

Dyson’s new HushJet personal fan came to market just in time for 2026’s wave of hot weather. Resembling an attachment-free electric toothbrush, the handheld gadget weighs in at just 212g, even though it incorporates a six-hour battery. The HushJet distils the company’s 17 years of experience working in the fan and cooling industry down into a tiny device.

Using Dyson’s own brushless DC motors, it’s capable of spinning at speeds of up 65,000 rpm. There are five airflow modes plus a battery-sapping Boost setting for really hot spots. Available in three colourways – Ink/Cobalt, Carnelian/Sky and Stone/Blush – the fan docks with a USB-C charge stand and will soon be offered with a universal mount for attachment to practically anything.

Sony Reon Pocket 5 personal cooler

Something a little different, from Sony. The Reon Pocket 5 is best described as a personal air conditioner, a ‘wearable thermal device’ that sits on the nape of your neck and stays in place with a special neckband. A stainless-steel cooling plate makes skin contact, chilling you in just the right spot to lower your overall temperature.

Hot air is expelled out of the top of the unit (there’s even a slightly longer vent piece to be used in conjunction with a suit). The Reon Pocket 5 can also be used to heat you up, a terrifying prospect at the time of writing, but potentially a handy addition to a winter wardrobe.

Torras Coolify Cyber Fold Neck Air Conditioner

Another outlier for those looking to move on from the traditional hand-held fan. The Torras Coolify Cyber Fold is a neck air conditioner, a collar-like device that slips onto the back of your neck and nearly instantly delivers a cooling blast of air towards your face and neck.

Inside the foldable Coolify Cyber are four individual fans to distribute air evenly without bothering anyone else. Control is via an app and there are also onboard temperature sensors that power the unit’s Auto cooling mode. All-in-all, it’s a little bulky and prominent, certainly enough to raise a few eyebrows. But you won’t care about that.

Shark ChillPill

We can vouch for the efficacy of Shark’s new ChillPill. Launched earlier in 2026, this twin-cylinder design has come into its own in recent weeks, during the UK’s heat waves. Shark’s compact device not only works as an efficient high-speed fan but comes with two additional modules that can be swapped out instead of the fan unit.

The first is a mister, which distributes the contents of a modest water reserve in a haze of ultra-fine, cooling mist. The second is a cooling plate, with a much smaller surface area than the Sony Reon, but pleasing to press against the neck, wrist and forehead when the heat gets too much. Finally, the ChillPill’s clever design allows the fan to be angled variously to establish perfect airflow.

JisuLife Ultra2 Portable Handheld Fan

The Ultra2 from JisuLife presents far more conventional form factor. Although it can’t haul air quite as powerfully as the Dyson, the Ultra2 spins at 43,000rpm, equivalent to a wind speed of 17m/s. The speed controls are represented by a percentage display, effectively giving the fan 100 different levels of airflow, while the big 9000mAH battery gives it plenty of endurance.

In addition to the fan functionality, JisuLife has imbued the Ultra2 with extra tricks, such as attachments that allow it to be used to clean out electronics, blow up inflatables and even as a flashlight and emergency beacon.

Printworks Fantastic portable fan

The simplicity and ubiquity of the fan format means you either need to radically innovate (as per Dyson or Shark) or risk your product drowning a sea of identikit challengers in the cutthroat online marketplaces. Fantastic is cheap and cheerful but transcends its Tik-Tok ad/Dropship roots with a set of nicely chosen colour options and a very simple premise; once charged up, Fantastic is free to move to wherever you are.

With colours including Green, Cerise, and Petroleum, Fantastic has three speeds, can be manually moved around 360 degrees and – it is claimed – will ‘operate in absolute silence’. If true, it’s a gamechanger that could solve both video-call miscommunications and the travails of light sleepers.

Muji Rechargeable Handheld Fan

This is what the archetypal hand-held fan looks like, so if that ticks your box, why not? With this model – ultra-affordable, utterly simple in design and with USB-C charge compatibility – Muji hasn’t set out to make the best or even the most distinctive solution. Instead, it potentially knocks out all the above options thanks to its folding practicality and familiar, unfussy design.

Nothing has announced the launch of the Ear (3a), an upgrade and enhanced version of its entry-level Ear (a). Available in black, white and signature yellow, the range is also joined by a new pink – much hotter than that used on the recent Headphone (a).

The Ear (a) already delivers impressive sound for the price, but the new model brings another piece of distinctive technology, very much aligned to the playful spirit of the Nothing brand. The new Audio Snapshot function uses 32MB of onboard flash storage and the earbuds’ inbuilt microphone array to capture audio directly and instantly.

Nothing is describing the function as a way of capturing an audio snapshot for recall and sharing, whether it’s lecture notes or a gig. Activated by pinching both earbuds at once, the Ear (3a)’s Snapshot function buffers to capture a bit of sound before and after the trigger point.

You’ll find an archive of your recordings in the Nothing X app, which also allows for transcription, effectively bringing the kind of functionality seen in standalone devices like the Plaud Note Pro into the personal audio space. The onboard memory can also be used to record calls – where legal – with up to two hours retained and stored in the app.

The Ear (3a) gets other upgrades, including a new 12 mm dynamic driver for more resonant bass. The earbuds are certified for Hi-Res Audio Wireless via Sony’s LDAC audio technology. The Nothing X adds further customisation via an eight-band equaliser and the ability to share audio profiles.

Those microphones also drive the Active Noise Cancellation system, with an improved transparency mode. If you like added audio processing, the onboard Static Spatial Audio adds additional reverb to create a more spatial listening experience.

The case has been redesigned with a revised charge status light and there’s even a new XS ear tip for smaller ears. The Ear (3a) is rated for up to ten hours of playback on the earbuds alone and an impressive 42 hours when used with a fully charged case (you’ll have to switch off the energy-sapping ANC though – the respective figures are six hours and 25 hours with ANC enabled). Five minutes of charge should give you an hour’s worth of playback.

Describing the little charge case as a colourful ‘party pill’ (no winks and nudges here), Nothing peps up its range with what looks like another winner.

Nothing Ear (3a), $99 / £99 / €99, Nothing.Tech, @Nothing

You’d be forgiven for not rushing to acquire a folding smartphone. While the form factor does have its fans, no manufacturer has yet made a convincing case for the doubled-up screen size, added weight, complexity, delicacy and cost that comes with these pocket tablets.

Like Samsung and Google, Honor has stuck to its guns and kept the dream of the functional foldable alive. Through excellent devices like the Magic V2, as well as the more practical but even less common flip-sized Magic V Flip2, the Chinese manufacturer has kept itself at the forefront of the tech, iterating, improving and refining with each generation.

The new Honor Magic V6 is the current state of the art. A companion for the brand’s latest Watch 6, it represents the current peak of this ever-evolving technology. For a start, the Magic V6 is 8.75mm when folded, barely more than, say, a Google Pixel 10 Pro (8.6 mm).

The large 6,660mAh battery is the largest offered in any foldable – usually an area of compromise with all the space taken up by the screens (for comparison, the Pixel 10 Pro has a 4,870 mAh battery and the iPhone 17 Pro Max offers 4,823 mAh). All in all, it weighs in at 219g.

Durability – the Achilles’ heel of the foldable – has also been improved, with IP68/IP69 dust- and water-resistance ratings. The Honor ‘Super Steel Hinge’ forms the core of the mechanism, specially designed to absorb impact when dropped and maintain the phone’s structural integrity. The processor is the Snapdragon 8 Elite Gen 5 platform.

The other obvious drawback in foldable design is the visual crease down the centre of the main display. A special flexible glass minimises this like ever before, with both inner 7.95-inch display and 6.52-inch outer display offering high refresh rates and what Honor describes as ‘advanced eye-comfort technologies’ to salve the eyes of the addicted.

Honor’s MagicOS 10 is more of an acquired taste. Out in the wild for nearly six months, this new version of the in-house operating system is very AI-heavy, with dedicated agents for photos, settings and general contextual queries. Google Gemini is bundled in, along with a three-month trial of Google’s AI Pro. The over-reliance on cartoonish avatars is also a little grating.

The UI adopts (some might say copies) some of the transparent design details from Apple’s iOS26 Liquid Glass aesthetic. Once you’ve become adept at manoeuvring between the various split screen options, a foldable phone becomes a very effective piece of multi-tasking kit.

Can it replace a laptop? Paired with a Bluetooth keyboard, it can come close, although as we know all too well, adding more and more tech to our lives rarely results in simplification.

These days, there are more and more alternatives, both new and on the second hand market, like the Samsung Galaxy Z Fold7, and the Pixel 10 Pro Fold, although one detects a certain ennui in the way in which these flagship devices are being sold; they simply don’t offer enough advantages.

There has even been the adventure of the triple-screen foldable, which turns out to be perhaps a screen too far. The very limited availability and take-up of the Samsung Galaxy Z TriFold and the Huawei Mate XT hasn’t encouraged a flood of imitators.

Finally, there’s the looming spectre of the iPhone Fold, as yet unsighted but much rumoured and certain to upend the desirability and reach of foldable tech should it ever actually appear. Unlike Apple, Google and even Samsung, Honor is unafraid to ramp up the bling and the sparkle when it comes to marketing its phones, with collaborations with Porsche Design and Jimmy Choo. The white, red and gold trim of the Magic V6 certainly stands out, for better or for worse.

Honor Magic V6, £1999.99 as one of several packages with other Honor tech (or £1499.99 until 31 July 2026, with Honor’s on-site discount) Honor.com, Community.Honor.com, @HonorGlobal

Until 5 August 2026, those purchasing the Magic V6 from some mobile providers (including O2) and Amazon.co.uk, have the chance to claim a bundle of additional Honor tech worth £549 post-purchase, including the Choice Projector Air Pro, Choice Headphones Max and Choice Watch 2 Epic

It’s all about the collection. If we must be subjected to unwanted and extraneous objects to facilitate our digital lives – chargers, extension sockets, power packs, etc. – then let them at least be beautiful, harmonised and something that doesn’t look out of place in a calm desktop environment.

That’s the thinking behind two new productions from Daily Objects, Node and Loft (both currently available in India, not yet on the company’s US site). Designed by London-based industrial design agency Layer, the ecosystem offers up two different ways of charging. Node is a modular wireless platform, a desktop dock for a variety of different modules, available in either two- or three- bay configurations.

Node has four interchangeable modules, an array of functional but sculptural pieces that can be placed anywhere on the flat, puck-like charging surface and then used around the house. They include a Wireless Charging Phone Stand, Wireless Charging Disk, Apple Watch Charging Stand and Portable Lamp.

The intention is to distil charging needs down into a single-wire solution without compromising on flexibility. The phone stand has 25W fast charging and incorporates a 7800mAh battery, bringing a wireless and cordless overnight charging solution to the bedside table.

The disk is also fast-charge compatible but presents a more compact solution for earbuds, while there’s also a dedicated Apple Watch charging stand. Finally, Layer has added in a portable lamp, a lantern-like object with bright yellow carrying handle. An onboard battery provides eight hours of battery life away from the Node.

It’s joined by Loft, a desktop 65W charging station with twin plug sockets and twin USB-C outlets. The unit is available in four colours, Charcoal, Clay, Forest and Mandarin, all of which compliment the components in the Node system. Loft is designed to power four devices at once, including laptops and tablets. Ergonomically angled, it comes with a 1.5m braided cord with integral cable loop and a non-slip silicone base.

‘Charging your tech is one of the most repeated interactions in daily life, yet the products that enable it are often treated as background objects,’ says Layer’s founder Benjamin Hubert, ‘With Node and Loft, we wanted to bring clarity, flexibility and character to that experience and create a family of products to the fore, that work beautifully, feel intuitive to use, and establish a distinctive visual language for Daily Objects.’

DailyObjects.us, @DailyObjects_global, LayerDesign.com, @Layer_Design

Leica introduced the SL-System in 2015, an evolution of the classic L-Mount with a full-frame sensor and enough sophistication and quality to satisfy even the most demanding professional user. At the same time, the SL-System has proved an effective gateway into the Leica universe for those looking to elevate their photography and videography.

This is the new SL3-P, the latest SL-System upgrade, which is being launched alongside two new lenses, the Summilux-SL 50 f/1.4 ASPH. and APO-Macro-Elmarit-SL 100 f/2.8. Taken together, they offer an unbeatable and hugely flexible package that stays true to the Leica ethos while also prioritising ease of use and minimalist design.

A new 44-megapixel BSI full-frame sensor is paired with a new autofocus system, giving the camera the ability to shoot images at up to 176 megapixels, with a vast ISO range (50 to 200,000) to facilitate low-light photography. The autofocus blends phase detection, depth mapping and contrast detection, for instantaneous focus.

As a result, the Leica SL3-P can shoot continuously at up to 40 frames per second with full autofocus. It also supports 8K video, including the industry standard 8.1K Open Gate format and can produce 4K slow-motion footage at 120 frames per second.

The new camera and lenses are manufactured in Germany; they don’t depart from the firm grip of the Leica aesthetic, although on this particular occasion the red Leica logo is conspicuous by its absence. The body is metal, weather-resistant, and finished in sober black. L-Mount capability gives the SL3-P incredible flexibility, with the choice to use not just Leica’s own lenses but compatible glass from alliance partners.

Taking and managing photographs is handled by Leica’s crisp UI and the Leica Fotos App, which connects to the camera via Wi-Fi, Bluetooth and USB-C. The unit can also be tethered to Lightroom Classic, or via Adobe’s cloud, further expanding the ways in which content can be managed and processed.

The Summilux-SL 50 f/1.4 ASPH is billed as the ‘world’s most compact autofocus lens with this focal length and a lens speed of f/1.4’, with a length of 75.5mm. It’s joined by the new APO-Macro-Elmarit-SL 100 f/2.8 macro lens, capable of delivering outstanding detail thanks to its close focus distance of 30cm. The camera is available now, with lenses coming later in the year.

Leica SL3-P, £5,150.00 / €5,990 (camera only)
Leica Summilux-SL 50 f/1.4 ASPH, £3,890.00 / €4,500.00
Leica APO-Macro-Elmarit-SL 100 f/2.8, £2,110.00 / €2,450.00
Leica-Camera.com, @Leica_Camera

Commodore’s new flip phone, the Callback, gets hip to the demands and requirements of the modern age, swapping out obsessive scrolling with intentional friction and an old-school form factor. While it’s not as sophisticated as, say, a Motorola Razr, nor nearly as basic as the reborn Nokia brand from HMD, the Callback walks a fine line between functionalism and full-on digital detox.

Straight up, the flip phone format beckons you back to an earlier time. However, it’s a little more sophisticated than that. Among the key apps that the Callback includes are Uber, WhatsApp and Google Maps, bringing a level of functionality that other so-called dumb phone options have talked themselves out of.

Commodore has deployed the Finnish-developed Sailfish OS, an operating system that’s mostly compatible with everyday apps but is stripped of Android’s more aggressive data-mining habits.

What you don’t get is any social media, or even a browser. There’s a camera – billed as a ‘retro camera’ – and the ability to listen to streaming music services, thanks to an onboard digital audio converter (and the all-important 3.5mm headphone socket).

Essentially all you’re missing is the ability to receive information to engage with or get enraged by, as well as other people’s unsolicited opinions on said information. In short, the worst bits of the modern world.

All this is wrapped in a series of limited-edition cases that run the gamut from classic Commodore beige to a techy-translucent finish that evokes the custom gaming rigs of the noughties and a blingy gold Founders Edition. The company’s graphic approach is also deliberately archaic, with highly polished 3D renders and light flares.

Commodore’s modern-day story is a strange one. Founded in the late 1950s by Jack Tramiel, the American company is best known for its business calculators and the Commodore 64 home computer, launched in 1982, and the Amiga, one of the mainstays of early digital music-making. The brand was bankrupted in 1994, but the name, logo and identity was revived in 2025 as the Commodore International Corporation, overseen by a team including Tramiel’s son Leonard.

The returning company’s first product targeted computing nostalgists with Commodore 64 Ultimate, updated for the modern age with USB and HDMI connectivity. The Callback is pitched at those too young to remember the heyday of 8-bit home-computing but old enough to abhor the toxic attention suck of the smartphone while yearning for something a little more Y2K.

The Callback 8020 is a world apart from 2026’s line-up of flagships from Apple, Google, Samsung and more, but it’s also very distant from Commodore’s first telephone, a rotary dial phone it sold in Canada back in the early 1980s. Other nods to the period include the exterior display in chunky segmented LEDs showing the date, time, battery, and signal.

Casual gamers will be sated by the inclusion of Snake, as well as a selection of original Commodore 64 games, while the absence of email and Slack make for blissful out of hours isolation. Finally, there’s a recreation of the original 64’s SID music player, the genesis of crunchy 8-bit chiptune music.

The new iteration of Commodore wants to build more examples of ‘purpose-driven future-facing technology,’ retaining the retro-futurist aesthetic with added layers of privacy and simplicity.

According to Peri Fractic, Commodore’s CEO and president, ‘the Callback can be an evening phone, a weekend phone, a going out to dinner with the family phone, or replace our everyday phone completely, depending what level we want to start reconnecting with the world around us. Those of us who have already done it can vouch for its impact and will never go back – we’ve learned to live with less scroll, and more soul.’

Commodore Callback 8020, from $499.99, pre-orders and more information at Commodore.net, @OfficialCommodore

Professional beatmakers and bedroom hobbyists alike will be pleased to hear that Akai Professional has updated its evergreen range of MPCs (Music Production Centre) to include a new version of the entry-level MPC One and the keyboard-sporting MPC Key 37. The G2 variants of these popular instruments include expanded capacity, upgraded hardware and fresh software.

The MPC range tops out with the hefty MPC XL but if that seems like overkill, the MPC One G2 is a comprehensive introduction to creative electronic music making. Designed, like every MPC, to operate completely self-sufficiently without the need for a separate computer (or even other instruments), the MPC range grew out early samplers and beat boxes to become an all-in-one solution.

The One G2 and Key 37 G2 now include 64GB of internal storage, 4GB of ram and an 8-core processor. Both are driven by the combination of a large 7” touch screen and the signature grid of 4 x 4 touch pads. Onboard sampling, sequencing and synthesis provides a deep well of functionality, and while the interface and workflow is a little daunting for beginners, it soon becomes second nature.

The Key 37 adds a three-octave keyboard for faster and more intuitive note input, as well as adding another layer for performance. Each device comes pre-loaded with a number of samples, plug-ins and instruments, while countless additional expansion units are available from Akai’s website.

The new hardware arrives alongside an updated version of Akai’s MPC OS, version 3.9. This brings even more functionality to these feature-packed boxes, including additional synthesis capabilities and an upgraded arrangement mode.

For now, the Key 37 is available in classic Akai beige, as per the original 80s-era MPC units, while the MPC One gets a blue finish. Both units have comprehensive input-output options for dovetailing into a studio or live set-up, or they can simply be used by themselves.

Akai MPC One G2, £729, Andertons.co.uk, Akai MPC Key 37 G2, £849, Andertons.co.uk, AkaiPro.com, @Akai_pro

Honor has announced the Watch 6, the latest in a series of effectively priced, supremely multifunctional smartwatches designed to go head-to-head with devices from Samsung, Google, Apple and more. What sets the Watch 6 apart is some truly impressive battery life, as well as sleek and distinctive case and strap design.

Available in Shadow Black and Twilight Brown – the latter with a matching tan strap – Honor Watch 6 features increased water and dust resistance and now has the ability to be operated with wet hands. This ties in with the expanded fitness and health modes, ranging from swimming to squash.

All modern smartwatches will go far, far beyond simple step tracking. The Honor 6 is pitched at the hyperactive, with over 120 supported sports, covering every conceivable activity including the intriguing and timely ‘Professional Football’. Delve a little deeper into the list and you’ll find aerobic favourites as well as forms of dance, water sports and even fishing.

The data that comes out depends on the data that goes in, of course. The Watch 6 splices its sensor data with location data, so movement can be synced with information about exertion, heart rate, etc. For activities like trail running, the watch can supply an AI running coach as well as information about the topography of the trail, thanks to the onboard AccuTrack dual-band six-star GPS.

Other activities generate different reports. Professional Football Mode is more likely to be used in a Sunday League, but it’ll still produce a post-match summary that shows heat and trajectory maps that show where you’ve been on the pitch throughout the game. Badminton fans can analyse their strokes and swing speed, as well as where their shots are going, and so on.

The downside to this data-driven mindset is that your stats will be locked up within the Honor Health eco-system. It’s no better or worse than the many alternatives, especially considering the large amounts of information that have to be conveyed, from stress levels to heart health, sleep quality to blood oxygen, body energy to temperature, as well as a 60-second health check mode. It’s a portal to an infinitely deep world of life-hacking and self-actualisation, with breathing guides, sleep music and many more ways to interact with the device.

Better data means more time with the Watch 6 on your wrist. To accommodate near-constant wearing, Honor has given the watch a sizeable 980mAh battery (the Apple Watch Ultra 3 has a 599 mAh battery), which in turn delivers a maximum battery life of over a month. In practice, the longevity was definitely something we noticed, especially when the most efficient watch faces were selected.

As is the way with smartwatches, the face can be switched from magnificent to monstrous with a few swipes and taps and there’s no shortage of illegible, OTT watch faces available through the app. A few more refined and tasteful options would have been welcome, especially ones that paired with the graphic approach of the Honor Health app.

In terms of hardware, Watch 6 has a case formed from recyclable aluminium alloy. It weighs in at a negligible 41g, although the battery size and 1.46-inch AMOLED screen mean the case is a hefty 46.5mm across. The conventional Shadow Black finish is joined by a more traditional Twilight Brown combo, which pairs well with classic dial faces (if you can find a good one.

Honor Watch 6 is a competitive entrant into the do-it-all smartwatch sector (look for introductory price offers that undercut the official RRP as well). It’s an evolution rather than a revolution, but if you’re all-in on a data-driven active life, Watch 6 is an excellent companion.

Honor Watch 6 with brown leather strap,￡249.99, with black fluoroelastomer strap, ￡229.99, Honor.com, @HonorGlobal

There are plenty of players in the field of humanoid robotics, with new entrants arriving to shore up the cyborgs that fall by the wayside. As previously noted, we’d all do well to be a little paranoid about androids, especially given the way in which AI – now considered a foundation technology for future robotic hopes – has run away with itself with few tangible benefits.

Here’s where yet another start-up pops up to showcase how it’ll be doing things differently. Based between Paris and San Carlos, Genesis AI was founded by robotics engineer Zhou Xian. The company has managed to get investment from former Google CEO Eric Schmidt, among others, while Head of Design Daniel Hundt was formerly at Nuro, an autonomous vehicle start-up. Xian and his team are promising a different take on robotic assistance.

This is their debut product, the Eno Robot. Whilst decidedly non-human in form, it has been explicitly designed to fulfil almost all of the mobility and agility requirements of a typical adult, eschewing the head-torso-legs form factor in favour of a blend of agility and mobility.

Eno’s most obviously analogous appendages are its arms, with their disarmingly (sorry) human-like gloved hands. Everything else has the soft, clinical sheen of a robotic arm or welding machine, or even something from an early 70s sci-fi series.

Describing their new baby as ‘radically minimalist’, the Genesis AI team started with a premise of ‘calm intelligence’, positing that future robots – whether at home or elsewhere – need the ability to slip silently from view when not in use. Try putting a mannequin-like machine back in the cupboard every evening and you’ll discover fresh nightmare fuel every morning.

In contrast, the Eno wants to be an appliance – not entirely devoid of personality, but less prone to trigger unwanted jump scares or trips to the uncanny valley. Under the skin there’s a lot going on, not least a full-stack AI (i.e. all the various levels of software interaction that go into generating movement, response and interaction) developed in house by Genesis AI.

Described as a ‘general-purpose robot’, the AI is said to be sophisticated enough to make Eno a true physical agent, one that can decipher, decode and learn tasks just like agentic AI on a high-end smartphone. The company wants to build trust right out of the box, so one option is for an optional screen that shows a representation of Eno’s processes in real-time.

‘The only path to creating a robot that can truly deliver value to society and excel in the real world is through intentional design and a single, comprehensive system,’ says Xian. The company’s approach also stresses the importance of Eno being able to work alongside humans, rather than as a remote machine in a dark warehouse.

The design intention was to create a machine that enhances human capabilities, with simplified systems that are nevertheless just as dextrous and mobile, given the right task and environment. The articulated panels fold up and down to extend the robot’s height, minimising Eno’s size when not in use. The hands were developed in house and closely mimic the abilities of a human hand increase the robot’s multifunctional abilities.

‘When designing Eno, we started with the question of what it needed to be,’ says Hundt, ‘We reduced the form to its essential elements so that every detail serves a purpose, from the way it moves between environments, to the precision, range and sensitivity required to operate alongside people in the real world.’

Genesis AI hope to have a production model ready by the end of the year, with use cases including ‘factories and laboratories to hospitals and homes. Whether Eno’s appearance will help or hinder it as we traverse the rocky path of robotic acceptance remains to be seen.

Genesis.AI

Bowers & Wilkins has announced an upgraded version of its legendary 800 Series Diamond loudspeakers. Eschewing the clean rectangular box, the 800 Series Diamond are all about bulbous, expressive forms that reveal the shape and configuration of the drivers within.

The D5 version of the 800 Series incorporates a host of upgrades, both physical and mechanical, to reassert the speaker’s role at the pinnacle of the B&W line-up. The updates cover the entire 800 Series Diamond range, a total of seven different models that run from the 805 D5 stand-mount speaker to the HTM81 D5 and HTM82 D5 home theatre speakers with an additional centre channel driver.

The principal models in the range are the three-way floorstanding units, the 804 D5, 803 D5, 802 D5 and the flagship 801 D5. The last debuted back in 1979 as the 801, and while today’s curvaceous 801 D5 feels a thousand miles from the usual arrow-straight 1970s aesthetic, the original definitely bucked the trend.

With its faceted cabinet, the 801 introduced B&W’s signature ‘stacked’ placement of the high-range drivers, with separate enclosures for the 27cm woofer, 10cm midrange driver and the 26mm tweeter on top.

That configuration has been preserved down the years, and the D5 wears this distinction with pride. The new speaker includes four new finishes, Stealth Black, Warm White, Light Walnut and Dark Walnut, all of which are paired with internal and external aluminium components.

The latter pair with the four different finishes, from the Dark Walnut finish with its dark metal detailing and black Connolly leather trim to the Warm White, which uses champagne colour aluminium components. The same metal is used for the Light Walnut, while lovers of 1980s minimalism will probably plump for the sleek Stealth Black model.

Inside, the D5 features new aluminium space-frame bracing to give the cabinet more rigidity than ever before, banishing vibrations from the interior of the speaker. Each speaker is crafted at Bowers & Wilkins’ factory in Worthing, on the south coast of England.

Bowers & Wilkins 800 Series Diamond D5: 801 D5, £43,000/pair, 802 D5, £32,500/pair, 803 D5, £25,500/pair, 804 D5, £16,000/pair, 805 D5, £10,000/pair, HTM81 D5, £10,000, HTM82 D5, £8,000, for more information visit BowersWilkins.com, @BowersWilkins

Upmarket is where it’s at, even in the realm of domestic appliances. The latest launch from Shark taps into all the contemporary sybaritic signifiers, from the refined, subtle but distinctive palette to the use of careful detailing and satin accents. This is the Shark Home Luxe Collection, a smart new selection of vacuuming devices that brings colour to the fore.

For now, the Luxe Collection offers two different machines, one of Shark’s takes on the traditional stand-up vacuum cleaner – the lightweight PowerDetect Speed Cordless Vacuum Clean and Empty System – and the latest in robotic cleaning technology, the Shark PowerDetect UV Reveal™ 2-In-1 Vac and Mop.

Shark already considers these cleaning machines to be at the top of their game – the company is currently American’s leading vacuum brand – and the addition of the new colourways is another way of making them stand out.

Ever since Dyson re-booted the art of home cleaning with his modernist-inspired and coloured cleaners, the industry has been playing catch up trying to find the next new approach. Dyson has remained faithfully to greys and bold contrasting primaries; Shark wants to take a more discrete and elegant approach.

As previously noted, the PowerDetect UV Reveal is a conventional puck-shaped robot vacuum with the added benefit of a UV light detection system to clean up the kind of messes that might otherwise go unnoticed (dried spills, whether from people or pets, for example).

The new colours include Espresso, Deep Harbour, Ivory and the online-only Evergreen, which could go some way to cloaking the intrusion of a docking station in the corner of a room.

It’s joined by the cordless PowerDetect Speed, weighing in at just seven pounds (3.17kg). Like its robot sibling, it comes with a self-emptying dock, while onboard sensors adjust automatically to different floor types. Run time is optimistically cited as up to an hour before it’ll need a charge.

Unlike a robot dock which has to be out in the open (until the robots can open doors), most people keep their vacuum out of sight. That hasn’t stopped Shark from offering the PowerDetect Speed in Walnut, Oatstone, Harbor Slate and Sagewood finishes, with the latter being an online exclusive.

The Luxe Collection is accompanied by a spot of self-conducted research that seems to indicate that ‘millennial grey’ is on the way out in over half of American households. Slightly more consumers told Shark that appliance colour matters when it comes to shaping the feel of a home. As a result, you can expect more polychromatic options across other domestic devices in the months to come.

Shark PowerDetect UV Reveal 2-In-1 Vac & Mop, from $1,299.00, Shark PowerDetect Speed Cordless Vacuum Clean & Empty System, from $499.99, SharkNinja.com

Despite the mini boom in conventional camera sales – by which we mean compact and SLR digital, not film, cameras – there’s a great swathe of contemporary content creators who only really know one type of image-capturing device.

The influencer’s weapon of choice has a very intentional form factor, one that favours hand-held, arms-length filming, with a swivelling, gimbal-stabilised camera system and a screen that flips from conventional landscape to the all-important portrait mode.

This is the new Insta360 pocket camera, a fresh challenger in a market that has come to be dominated by the DJI Action Camera. This Chinese firm – Shenzhen Da-Jiang Innovations Sciences and Technologies Ltd. – started out making drones before branching out into ultra-compact influencer-focused action cams in 2019, going head-to-head with GoPro.

The American manufacturer couldn’t keep as DJI rapidly accelerated in look, feel and quality and whilst GoPro has now in fact attempt to go pro with the new Mission 1 cinema camera, DJI now rules the roost for both pocketable vlogging cameras and drones – it has around 90% of the drone market.

Enter Insta360. The new ultra-light Luna Ultra wants in on this action and hopes to do so through a partnership with Leica. Incorporating a 1" sensor and 8K imaging, the Luna Ultra uses a Leica Summicron lens for its main video and photo capture, with a telephoto lens capable of up to 6x loss zoom.

The impressive technical specs are supported by the vertical form factor, which not only includes an integral tripod but also has a detachable 2” OLED touchscreen. For those who present, the touchscreen can double up as a microphone, allowing you to commentate at a distance (up to 20m) while preserving excellent sound quality.

The screen also allows you to remotely control the camera framing, while onboard object and AI-powered facial tracking pairs with the 3-axis image stabilisation to keep things steady.

Flexibility is the name of the game. The Luna Ultra has been designed for excellent low light performance with the ability to output 120fps slow motion at 4K and with 8K/30fps video using Dolby Vision. The camera provides professional grade video output for post-production work, with a built-in time code, while also taking 37MP still photos.

Onboard memory tops out at 47GB, whilst content-hungry creators will appreciate the ability to add up to 1TB using microSD cards. The 1550mAh battery provides around four hours of shooting, depending on conditions.

The Leica partnership isn’t just about the glass, but also the German specialist’s colour profiles. These offer a range of cinematic filters and colour grading options to give a distinctly different feel to your footage. The Luna Ultra is compatible with Insta360’s pro-grade microphone systems and the unit itself has a built-in wind guard to preserve outdoor recording quality. Other accessories include a head-tracker unit.

The Luna Ultra won’t necessarily dent DJI’s dominance overnight, but it offers a pro-grade alternative with pioneering functions – that detachable screen – that’ll give it a healthy start amongst tech-conscious creators.

Insta360 Luna Ultra, available in Midnight Black and Moon White, £649 / €729 (Standard Bundle) and £829 / €929 (Creator Bundle), Insta360.com, @Insta360

We’ve got a lot of love for Birdie, the indoor air quality monitor that transforms the metaphorical canary in the coal mine into a real-world device. Now the Danish company is back with a wider range of products, the Birdie Home Collection, using the platform of 3 Days of Design 2026 to tweet out the good news.

From later this year, the original yellow Birdie will be joined by three new products, Birdie Pro, Birdie Podium and Birdie Flame. According to designer Hans Augustenborg, who co-founded Birdie with Andreas Kofoed Sørensen, it was time to expand the original concept.

‘Birdie started with a simple idea: to make invisible air quality visible,’ Augustenborg explains ‘With this collection, we are taking that idea further, moving from a single product into a broader design brand for healthier indoor living. The goal is to create technology that people actually want to live with.’

The new Birdie Pro joins the flock, updating the avian form of the air monitor to include app support and full smart-home integration. The sensors have also been enhanced but the form factor stays reassuringly similar, harking back to the hapless canaries that once kept coalminers safe from gas leaks.

Severe toxicity is no longer the enemy, but day to day pollutants, which ebb and flow depending on factors like weather and traffic. If the bird sits proud atop its perch, all is well – when the air quality drops, so does Birdie Pro. In true Danish fashion, the solution to the problem is simply to open a window and let the house breathe.

The two new additions start with Birdie Podium, a dedicated air purifier that eschews the space age cylinders so beloved by the industry and re-imagines it as a piece of classic furniture. Podium takes the form of a wooden pedestal, a place to stack stuff or display objets d’art whilst also functioning as an air purifier that quietly and efficiently improves the quality of your home environment.

The wooden finish is a welcome dose of Scandinavian warmth in a sector that tends to be rather clinical. Podium is also joined by Birdie Flame, a soft lighting device that takes a different tack to achieve domestic wellness. Flame is an LED candle that mimics the tone and light texture of a real flame. As an added bonus, sensors allow Flame to be lit and extinguished via mimicked match and blowing out gestures.

Sørensen and Augustenborg launched Birdie in 2022 and have since sold over 70,000 of the distinctive air monitors in over 70 countries. The new products continue the company’s aim of improving the quality of life indoors without overburdening our homes with tech.

Birdie’s ‘Home of Fresh Air’ is open until June 12 at Badstuestræde 12, 1209 Copenhagen as part of 3daysofdesign.dk, Birdie.design, Kickstarter.com, @Birdie.Scandinavia