Objects with Aura: The Vision of Marquel Williams

Over the past two decades, a new expression has steadily entered the design lexicon, becoming increasingly familiar to gallerists, designers, and enthusiasts alike: collectible design. But what does it truly mean? And why has this concept emerged as a quiet—yet often provocative—counterpoint to the logic of industrial production and mass consumption? Collectible design arose as a response to a system driven by speed and replication. In a world where value is frequently measured by volume and profit margins, it offers a radical alternative: unique or limited-edition objects, not created for infinite reproduction, but to spark reflection, desire, and a sense of belonging. No longer just about “function”, but about “aura”. No longer only about “market”, but about “identity”.

This movement has redefined the role of the designer, elevating them from executor to author. It has also transformed the audience—from consumer to collector, from user to caretaker. Yet the phenomenon is far from straightforward. While it has sparked a rich dialogue between art, craft, and design, it also raises critical questions about the true value of these objects and their accessibility—at times risking isolation within a self-referential and exclusive niche.

Two standout Christie's auctions over the last few years have rekindled enthusiasm for collectible design, with spectacular sales and publicity returns. The first featured a rigorously curated selection of contemporary pieces from private European collections; the second, more groundbreaking auction, displayed up-and-coming designers and limited editions created in the last five years—catering to a new generation of collectors and investors. These successes announce a deeper grasp of design as a utilitarian discipline but ever more as a cultural language and long-term asset. But below these showcase instances lies a more complex reality. Most practicing designers today—even the best in identity and unquestionable talent—still struggle to generate an authentic secondary market. Their work, typically conceived as one-offs or produced in very small series, remains to find sustained resale momentum on the bigger auction circuits. Therefore, appearances of recent design at auction remain spotty and primarily confined to a limited coterie of names and holdings.

The paradox is clear: while the primary market continues to expand—with galleries and fairs increasingly positioning design as collectible art—the secondary market, which ultimately defines the long-term value of a piece, remains underdeveloped. This gap between growing enthusiasm and market consolidation is sparking an ongoing debate: are we witnessing a fleeting trend or a deeper, structural shift in how design is perceived? One thing is certain—collectible design has fundamentally changed the way we view furniture and everyday objects.

As the success of major auctions and the progression of identified icons are on the rise, a new generation of designers steps into the foreground with confidence, presenting personal, contemporaneous-led visions that push boundaries and redefine the discipline. Of the new voices, Marquel Williams is noted for his determination, ambition, and sophisticated aesthetic that beautifully harmonizes technique with poetics. Williams explores the dynamic relationship between material and form, walking the line between sculpture and function. His fully autonomous practice is marked by a balance of constructive precision and bold experimentation, demonstrating a clear commitment to thoughtful, idea-driven design. His lexicon is not intended to please but to provoke and communicate through raw textures, structural stress, and simplified, essential forms. His debut full collection, Beams, is a strong manifesto for this vision.

Produced by Caliper in Spain, the Beams series draws inspiration from architectural structural elements, reimagined through laser-cut aluminum surfaces treated with a protective wax to emphasize their raw, tactile quality. The collection — now comprising a desk, three chairs, a chaise lounge, and a floor lamp — is designed to inhabit space with a quiet yet assertive presence. These are objects that speak the language of construction, but also evoke memory and perception; pieces created to endure, not to vanish into the churn of the next product cycle.

What makes Marquel Williams’ perspective especially compelling is his critical take on the American design landscape. In his view, the U.S. market moves faster than its cultural comprehension of design. “We’re in a moment where everything is still unwritten. Maybe we’re at the start of a new movement”, he reflects. Unlike the more codified traditions of Europe or Asia, the American scene remains open—unfixed and fertile ground for new narratives to emerge.

Williams moves with intention and patience. He immerses himself in technique, experiments with materials—particularly aluminum, drawn to its expressive and industrial potential—and continues to develop new works for galleries. His creative process is shaped by a wide constellation of influences: from the Bauhaus and modernist architecture to minimal art, as well as overlooked fragments of daily life—urban detritus, found objects, personal memories, even the emotional imprint of past relationships.

“I move between two souls”, he reflects. “One more rational and function-driven, the other freer, more artistic”. It’s within this tension that the true force of his work emerges—a formal language that treats structure as metaphor: for discipline, for balance, for the potential to evolve. In a world still searching for new collective narratives, Williams’ design offers something at once deeply personal and quietly universal—each piece a gesture, a marker, a steady point in a shifting landscape.

It is precisely from these emerging voices that the next chapter of collectible design may take shape—not as a nostalgic echo of the past, but as a bold, original narrative rooted in the present.

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Words: Simone Lorusso