This series, COLLECTIBLE In-Depth, unveils the backstage of contemporary creation. Tackling various topics from personal designer processes to the position of collectible design on the global design market, COLLECTIBLE In-Depth offers different views to suit all tastes. Today we speak with WhiteNoiseDada.

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C: How can collectible design be a representation or reaction to current societal, political, or economic questions?

WhiteNoiseDada: Our work consists of unique, thought-provoking objects that engage with contemporary issues. We draw inspiration from the present, reflecting on complex and often uncomfortable realities. By creating one-of-a-kind pieces, we remain independent of fleeting trends. Operating at the intersection of design, art, and theatricality, we have the freedom to shape new narratives. We primarily use post-consumer and readily available materials, giving our work a raw, distinctive edge. In doing so, we challenge the structures that dictate mass production and consumerism, offering an alternative way to engage with design as a critical medium.

C: Can you discuss a specific cultural or historical reference that has inspired your recent work in collectible design?

WND: Our new collection responds to the chaotic era we live in—a twilight zone between rapid innovation and regressive conservatism. People seek security in nostalgia, longing for a past that no longer exists. This fear-driven desire, however, often leads to stagnation rather than progress. We observe the rise of authoritarian figures who manipulate the public through fear, and interestingly, their visual language remains eerily consistent throughout history. We’ve drawn inspiration from dictatorial design and architecture to create objects that empower individuals. With our pieces, anyone can embody authority—turning the narrative of control on its head.

C: How do you see the role of interdisciplinary collaboration shaping the future of collectible design?

WND: Interdisciplinary collaboration is essential in pushing the boundaries of collectible design. When different fields—such as technology, performance art, philosophy, and material science—intersect, new forms of expression emerge. We see design as a dynamic force, not a static discipline. By working with scientists, theater makers, and craftspeople, we create objects that exist beyond functionality, inviting discourse and interaction. The future of collectible design lies in these crossovers, where the unexpected happens, and new languages of making are developed. Collaboration allows us to redefine what design can be and how it can shape societal perspectives.

C: Can you talk about a new piece/collection that you are releasing for COLLECTIBLE this year?

WND: For COLLECTIBLE Brussels, we present a collection that plays with authority and power structures. Inspired by the aesthetics of dominance—monumental architecture, rigid symmetry, and propaganda design—we subvert these elements into pieces that put control in the hands of the individual. The works are bold, theatrical, and slightly absurd, encouraging interaction and reinterpretation. Materials carry past lives, reclaimed from systems of mass consumption, now transformed into new symbols. This collection challenges perceptions of influence and submission, inviting viewers to reconsider their relationship with power—who holds it, how it is imposed, and how it can be reclaimed.

C: How do sustainability-related questions influence your practice?

WND: Sustainability is not just a material choice for us; it is an ideological stance. Rather than simply using "eco-friendly" materials, we critically examine the entire system of production and consumption. We reject overproduction and waste, working with post-consumer materials that already carry a history. Our approach is to rethink value—what is considered "waste" can be repurposed into something meaningful. By crafting unique objects instead of mass-produced items, we disrupt the cycle of disposability. Sustainability, in our view, is not just about preservation but about transformation—both of materials and of the way we engage with design.

C: What ethical considerations guide your material choices and sourcing practices in the production of collectible design pieces?

WND: Our material choices are guided by responsibility, transparency, and narrative. We prioritize materials with past lives—reclaimed, found, or sourced from overlooked streams. Every material carries a story, and by reworking these remnants, we highlight the hidden histories embedded within objects. We avoid exploitative supply chains and question the ethics of sourcing even so-called "sustainable" materials. Ethical design, for us, is not just about where materials come from but about how they are used—how they challenge, provoke, and invite reflection. In the end, our work is not just about creating objects but about redefining value itself.