Dezeen

And then on the other side of things, in the more traditionally industrial design, homeware side, Bocci is based here, B-O-C-C-I, which is quite a large lighting company.

And then AndLight, which recently rebranded to A&D, which just hosted Dezeen's opening party for three days of design at their new showroom in Copenhagen.

That's a Vancouver company.

There's a lot going on.

Part one, craft won, and it wasn't close.

The piece that set me off on this is by Debika Ray, published in Dezeen on the sixteenth of September.

Her framing is that craft became cool while industrial design lost the room, and she has the attendance figures to back it.

London Craft Week, roughly thirty-five thousand visitors a decade ago, roughly two hundred and fifty thousand now.

That's Dezeen's reporting, and I'm citing it as reporting rather than as a number I've been able to check independently.

The Loewe Foundation Craft Prize pays fifty thousand euros.

It started in twenty sixteen, which is recent enough that some of you will remember design prizes going to products, not to pots.

Armani had already been through a version of the same thing that April, the same Armani I had leading with the hand at Design Week about ninety seconds ago.

Welcome back to Dezeen Weekly.

I'm Jennifer Han, and today we've got a special

episode for you all

about the London Design Festival, which

is taking place this week.

Joining me in the studio today are Dezeen's deputy editor, Kajsa Karlsson, and design and interiorist reporter, Jane Englefield, who were out and about over the last couple of days taking it all in.

Hi, guys.

Thanks so much for coming on.

[upbeat music] Hello, we're back, and welcome to a new series of "Dezeen Weekly." I'm Nat Barker, and I'm joined in our studio by Jennifer Han and Tom Ravenscroft.

Hello to you both.

Hi, Nat.

We'll have to leave it there for this week, I think.

But if you're interested in reading more about the new wave of architecture being built with stone, you can check out an editorial series we did on the topic a couple of years ago called Stone Age 2.0. A link to that will be available in the description.

Thanks very much, Jen and Tom, and thanks for listening to this episode of Dezeen Weekly.

We'll be with you next time.

[outro music]

It's the interplay of the colors and shapes that actually hide the person wearing it from detection.

Weckert told, uh, Dezeen, "AI systems are made of multiple layers and have never learned what a human actually is.

They learned what humans statistically look like in millions of training images.

A person, for the machine, is a bundle of visual statistics, and that is its exact weakness." And so the pink, orange, and green blobs printed on the shirt break the continuity of the body outline so the detector can no longer bind the parts into a single figure.