For me, collectible design is a story about craftsmanship and the need for authenticity — about values rooted in the work of human hands. In recent years, we have been witnessing a real renaissance of craftsmanship. More and more designers are returning to their workshops, creating their own objects and rediscovering the direct relationship between material and process.
The idea for this text came during the recording of a MAGAZIF podcast dedicated to collectible design, where I had the pleasure of being a guest of Kasia Księżopolska. Our conversation about the connection between design and craftsmanship became a starting point for reflecting on what value means in contemporary design — and how the human hand continues to play a fundamental role in the digital age.
🎧 Listen or read more here: Tom Bensari – The Magic of Objects and Collectible Design | MAGAZIF Podcast #13
In the world of object design, more and more creators are returning to the workshop — a place where design and making become one process. It is here that art, function and tradition meet. Collectible design becomes a language through which craftsmanship speaks of uniqueness, precision and respect for materials.
Craftsmanship as a Foundation of Authenticity
In the era of mass production and automation, the trace of the human hand has become especially meaningful.
Craftsmanship gives each object a unique identity that cannot be replicated. In the furniture I design and make, I see the entire process of forming an idea — from its first concept to moments of doubt, reflection and the final decision of the hand. The unique concept and human touch are what distinguish collectible objects from industrial products. They turn an object into a vessel of emotion and story.
The Designer Returns to the Workshop
Designers who work with materials themselves understand them more deeply — their structure, resistance and possibilities. This knowledge allows us to create objects that are both aesthetically refined and emotionally sincere. Contemporary collectible design grows from this approach — it connects the conceptual precision of a designer with the mastery of a craftsman.
In Poland, the field of collectible design is developing dynamically. One of its most interesting examples is the Objekt Gallery in Warsaw, described by Vogue Polska in the article “Obiekty, nie przedmioty. The first gallery of collectible design opened in Warsaw”.
It is the first gallery in Poland devoted entirely to collectible design. Its founders, Aleksandra Krasny and Marcin Studniarek, collaborate with creators who do not separate design from making, combining traditional materials with experimental form. It is a space where art, craftsmanship and function come together — and where collectible design regains its cultural significance.
A Dialogue Between Design and Craft
In my work, designing and making furniture are one inseparable process. What came first for me was fascination with craftsmanship — with precision, traditional techniques and the discipline of working with wood, a material that teaches patience and respect for nature. Only later came the courage to use those skills in designing objects that combine traditional woodworking methods with contemporary design language. Every piece made in my workshop is the result of handwork — it carries the traces of the process and the individuality of the maker.
In Poland, I increasingly meet designers who, like myself, do not separate design from making. They understand that the quality and integrity of an object emerge not only from concept but from the process itself. Two internationally recognized Polish designers come to mind: Jan Garncarek and Jan Ankiersztajn. Both represent the same approach — precise, thoughtful and deeply rooted in craftsmanship.
Jan Garncarek
Jan Garncarek is a Polish designer who combines design and craftsmanship in his studio near Warsaw.
His brass objects — lamps and tables — are produced in small series, with each element hand-finished to preserve its individuality and the maker’s trace. Garncarek proves that in collectible design, strength lies in the unity between concept and execution.
Jan Ankiersztajn
Jan Ankiersztajn, a Poznań-based designer and graduate of the Design Academy Eindhoven, creates metal objects that balance the rawness of material with subtle form. In his studio, aluminium is shaped by hand with the precision of a craftsman and the sensitivity of an artist. Each object becomes a record of direct dialogue between mind, hand and matter.
Material, Technique, Detail
In collectible design, material is never neutral — it becomes part of the story. Wood, metal, stone or glass are not merely media; they are starting points for reflection on our relationship with the objects that surround us.
The contemporary craftsman does not hide the process — instead, he leaves visible traces of work as a testament to authenticity.
Every piece I create bears the marks of my hands. None are identical: no two handles or joints are the same.
That is the essence of working with natural material — and the meaning of handmade production. What would be considered an imperfection in industry becomes a symbol of individuality in craft. Clients notice and appreciate these subtle variations — the signs of human presence that create a bond between maker and owner.
A New Definition of Luxury
Modern luxury, especially in functional art, is based on rarity and authenticity. Handcrafted collectible furniture embodies a responsible approach to design — made slowly, with respect for traditional methods and natural materials, built to last for generations.
In Poland, as elsewhere, aesthetic awareness is growing. More people are seeking unique, authorial solutions, moving away from the repetitive, catalogue aesthetic. Interiors are becoming spaces where uniqueness and the human touch mean more than industrial perfection. This shift confirms that the new definition of luxury rests on authenticity and relationship — not on quantity or status.
Craftsmanship as the Future of Design
The new generation of designers and collectors is searching for meaning, not just form. Craftsmanship gives design a human dimension. In a world ruled by speed and automation, handwork becomes an act of resistance — a way to bring intention and care back into creation.
During the final gala of the Young Design competition, organized by the Institute of Industrial Design, I heard a comment from a professor at the Academy of Fine Arts in Warsaw that stayed with me. He said that more and more young designers are aware of the culture of excess we live in and don’t want to contribute to it by producing yet another mass-made object the world doesn’t need. They aim to design responsibly, respecting materials, longevity and the environment. For me, craft-based production is the answer — creating on a small scale, in a workshop rhythm, allows for quality, control and genuine respect for what is made.
The works shown in collectible design galleries prove that craft continues to evolve. It is not nostalgia, but a conscious choice — a new, thoughtful way of creating. In Poland, as in the world’s design capitals, a generation of designers is emerging who experiment with material while respecting its nature, bringing artistic sensitivity and integrity back into design.
