Cover Designer Gabriel Tan with the Rumee lamp he designed for Louis Poulsen (Photo: Irina Boersma/Louis Poulsen)
Designer Gabriel Tan with the Rumee lamp he designed for Louis Poulsen (Photo: Irina Boersma/Louis Poulsen)
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From Porto to Singapore, designer Gabriel Tan is redefining contemporary design through quiet originality, ethical collaboration and a global vision rooted in timeless, human connection
When Gabriel Tan speaks about design, his words carry the cadence of reflection, of a designer who has learnt that real impact lies not in noise but in nuance. “I don’t consciously think about my own brand or style,” he says. “It comes through when I’m working on projects.”
It is an approach that has made the Singaporean designer—now based between Porto and Singapore—one of the most quietly influential voices shaping the global design conversation today. Tan’s aesthetic has been described as “familiar yet refreshingly new”, a quality he attributes to an instinct for balance rather than reinvention. His work for heritage houses such as Herman Miller, B&B Italia and Louis Poulsen demonstrate an ability to evolve a brand’s legacy without overwhelming it. “[For example], when designing for a brand like Louis Poulsen,” the founder of Gabriel Tan Studio says, “my contribution is to help it grow in a way that feels true to itself.” This philosophy—of evolution over disruption—has become his signature across product, furniture and spatial design.
It finds poetic form in Rumee, the portable lamp he created that earned him the Danish lighting house’s inaugural Designer of the Year honour in 2025. Inspired by the soft curves of a broad hat, Rumee is tactile and intuitive—its name a play on the Danish word “rum”, meaning “room”, and the idea of companionship. “When you hold the stem, it feels nice and has an emotional quality that invites you to explore [the lamp] with your hands,” Tan says.
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His ability to humanise function is evident in the lamp’s deceptively simple proportions—the stem’s torchlight-like diameter invites users to carry it from space to space, turning a mere object into a familiar companion. “Design is most effective when it influences subconscious behaviour,” Tan explains. In the case of Rumee, “the more you hold it”, he says, “the more likely you are to develop a relationship with it—and the less likely you are to replace or ignore it”.
That sensitivity to use and emotion defines his practice, preferring to elevate everyday experiences—“just 10 per cent better, or 20 per cent more beautiful”, he says. Beauty, he believes, has practical consequences: “If you use a product for an hour a day and its beauty brings you joy, the effect on your well-being is far greater than most people realise.”
Above Rumee lamp for Louis Poulsen, which earned Tan the Danish lighting house’s inaugural Designer of the Year honour in 2025 (Photo: Louis Poulsen)
Rumee lamp for Louis Poulsen, which earned Tan the Danish lighting house’s inaugural Designer of the Year honour in 2025 (Photo: Louis Poulsen)
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It is this disciplined humility, rather than any fixed aesthetic, that connects the seemingly disparate worlds he designs for, whether shaping the soft, foldable forms of the Luva modular sofa for Herman Miller—a hybrid of Japanese futon and Western boxing glove—or refining the minimalist warmth of B&B Italia’s Quiet Lines furniture. Each piece invites intimacy without demand, comfort without complacency.
Above Luva Sofa and Cyclade Tables for Herman Miller (Photo: Francisco Nogueira)
Above Quiet Lines for BB Italia (Photo by Tommaso Sartori)
Luva Sofa and Cyclade Tables for Herman Miller (Photo: Francisco Nogueira)
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Such clarity of form stems from clarity of method. The dual base of Tan’s studio—Singapore and Porto—is more than logistical convenience; it is a living metaphor for cross-pollination. As he shares, “[At the studio], we draw from both Asian and European influences, enriching our process and inspiring new discoveries”. The result is a cultural synthesis that feels global yet grounded.
This extends to Origin Made, a craft-driven brand Tan co-founded in 2018 to champion artisanship and ethical production. Working with small workshops across countries such as Japan, Portugal and Spain, it prioritises relationships over scale. “For Origin Made, the starting point is always a good conversation,” he says. “Our values must align [with our partners’].” Many of its ceramics, furniture and lighting are often produced in editions of just 25, allowing artisans to work at their own pace while reaching global audiences. The goal here is to ensure craftspeople remain independent, fairly remunerated and creatively dignified.
Tan recalls an encounter that encapsulates what drives him: “A woman in Sweden once asked if we could hold the last candle holder until her pay cheque came in,” he shares. “She bought it the moment she got paid. That kind of connection keeps me going. It shows that people still value authenticity—that buying less, but buying better, still matters.”
In case you missed it: Why Singaporean Designer Gabriel Tan Chose to Relocate to Portugal
Above Tan was named Designer of the Year at the 2025 President’s Design Award (Photo by Paula Holtheuer)
Tan was named Designer of the Year at the 2025 President’s Design Award (Photo by Paula Holtheuer)
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In a career built on patience and precision, recognition has come as affirmation. Tan was named Designer of the Year at the 2025 President’s Design Award, Singapore’s highest distinction in design. The jury praised his craftsmanship, innovation and entrepreneurial spirit on the global stage, lauding his ability to bridge cultures while remaining deeply rooted in heritage and purpose—“the very essence of a global Singaporean”.
From his studios in Porto and Singapore, Tan continues to expand his horizons. Recent projects include bespoke poolside furniture for Raffles Hotel Singapore, while Studio Antimatter—his interior design practice—is creating a new cocktail bar for the Jigger & Pony Group. Alongside these, he is exploring mobility and transport design. “I’d love to work on a train or an aircraft interior,” he muses. “I travel often for work and, while I don’t necessarily enjoy the process, I’ve always felt that the journey itself could be made far more comfortable.”
In an age of accelerated consumption and algorithmic creativity, Tan’s voice offers an antidote. He champions originality—whether as a designer who creates it or a consumer who chooses to support it. “The sensitivity to the millimetre, to how a curve feels in your hand, can’t be replaced,” he says. “Intuition defines the outcome.”
Above Charred Vases for Origin Made (Photo by Pedro Passos)
Charred Vases for Origin Made (Photo by Pedro Passos)
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As Senior Editor of Tatler Singapore, Hashirin champions and refines the storytelling across platforms—curating and crafting compelling profiles, cover stories and features that spotlight visionaries shaping culture, business and impact. Driven by curiosity, she draws inspiration from the artists, changemakers and trailblazers she encounters through her work. Beyond the pages of Tatler, she is an avid supporter of local theatre and delights in seeking out art in every city she visits.
