There’s something deliciously absurd about lighting your living room with a seatbelt. Or lounging on a suede sofa outfitted with actual Mercedes headlights—high beams, turn signals, and all. But if you know MSCHF, the Brooklyn-based art collective behind viral stunts like the Big Red Boots and the Jesus Shoes, you already know: sense is the first thing to go.

This May, as part of NYCxDesign, MSCHF and Mercedes-AMG lift the veil on a new collaboration titled “Not for Automotive Use”, a concept furniture collection that smashes the gas pedal on the postmodern tradition of radical design—and doesn’t bother checking the mirrors. Think: Achille Castiglioni meets Fast & Furious.

It’s not just design. It’s performance art you can sit on.

AMG x MSCHF Concept Collection / Überraschend und unkoventionell: Mercedes-AMG und das amerikanische Künstlerkollektiv MSCHF kreieren extravagante Möbel-Kreationen / Exklusive Ausstellung in MSCHF Studio in New York im Rahmen des NYCxDesign Festivals 2025
AMG x MSCHF Concept Collection / Surprising and unconventional: Mercedes-AMG and the American artist collective MSCHF create extravagant furniture creations / Exclusive exhibition at MSCHF Studio in New York as part of the NYCxDesign Festival 2025

FROM TRACK TO LIVING ROOM
The pieces—each a one-off symphony of AMG engineering and high-concept subversion—repurpose original performance parts from AMG vehicles into functional art for the home. The result? A defiant act of appropriation that pays tribute to the Italian Radical Design movement of the ’60s while steering straight into the cultural slipstream of 2025.

In the same lineage as Castiglioni’s tractor-seat stools or Gaetano Pesce’s polyurethane blobs, MSCHF’s creations laugh in the face of good taste—and land somewhere better. They’re highly collectible, mechanically absurd, and painfully cool. They’re also, technically, furniture.

The Seatbelt Shelf is a precise, industrial ballet: milled aluminum meets five doubled-up sets of red and yellow AMG seatbelts, each one taut, tensioned, and ridiculously overbuilt—like shelving made for Formula 1 pit crews. The Seatbelt Light transforms ambient illumination into an act of physical engagement: click the buckle and the LEDs flicker on; unclip it and it springs back to neutral.

The Headrest Chair, with its tubular steel roll-cage silhouette and triple-AMG-cushion configuration, makes a credible argument for ergonomic absurdity. It’s not just a chair. It’s a recalibration of status. A throne for those who collect lap times and limited runs.

FUNCTIONAL FICTION
What unites the collection is a sly visual language: symbols of speed made slow. Components meant to reduce drag are now bolted into stillness. The Grille Grill, a charcoal BBQ in the unmistakable shape of the AMG front end, feels almost sacrilegious—but in the way that makes collectors salivate.

Meanwhile, the Headlight Couch, a velvety MICROCUT suede conversation piece, doesn’t just resemble a car. It is part car. With its angular chassis and working light signals, it’s part 1970s Italian cinema, part Stuttgart showroom. You could stage an entire dinner party around it—and still feel like you’re racing down the Autobahn.

The Wheel Fan, framed in an Interlagos rim and sitting atop anodized aluminum, keeps things cool while spinning like it’s trying to beat wind resistance records in your living room.

THE STUDIO UNVEILED
The pieces were forged at MSCHF’s previously top-secret Greenpoint studio—now opened to select guests for a three-day vernissage. Walking into the studio feels less like entering a design showroom and more like stepping into the control center of a design cult that read too much Domus and then rewired a German luxury car in protest.

Studio equipment is left in situ as part of the installation—MSCHF makes sure you know: this is where the work happens. It’s raw, reverent, and a touch ridiculous. Which is the point.

MORE THAN MERCH
To complement the furniture drop, an exclusive capsule of apparel and accessories adds a layer of ironic luxury. Graphical prints of AMG parts adorn heavyweight tees, workwear trousers, and caps that feel like a pit crew from another dimension. Even the accessories are layered with subtext: a tree-shaped car fragrance, for instance, nods to Affalterbach, Germany—AMG’s hometown, whose name translates to “apple tree on the brook.”

The apparel doesn’t scream “collab.” It murmurs it, like a well-tuned V8 at idle.

DESIGN FOR THE DEFIANT
MSCHF and AMG didn’t just build a collection—they built a contradiction. It’s both a reverent nod to design history and a burn-out across its face. It’s high-performance machinery frozen into domesticity. It’s industrial poetry for those who want their living room to say: Yes, this is a seat made of seatbelts—and no, you can’t have one.

This collection isn’t for your average Mercedes owner. It’s for the collector who knows their Memphis from their Milan, who wants their home to speak in limited editions and punchlines.

And above all, it’s for those who understand that in 2025, the true mark of luxury isn’t horsepower—it’s how you repurpose it.

MSCHF x AMG: “Not for Automotive Use” premieres May 15–17 at MSCHF Studio, Greenpoint, Brooklyn. Available by custom order only. Visit www.mschf.com for more details.

In a world of mass production and mediocrity there’s something mesmerizing about handmade goods crafted with passion and precision.  And there’s no greater example of such craftsmanship than Tortus Copenhagen, a Denmark based studio that blends the age-old techniques of making ceramic vessels with modern, timeless and elegant designs.  Led by master potter and designer Eric Landon, the Tortus range varies in color, form and texture, but with a beautiful continuity that extends throughout each of the collections.

Colors range from a dark obsidian to the much lighter earth white, but with the continuous theme that all of the colors in the range are rooted in earthy, natural tones.  Shapes too vary from more conventional vases to long necked and bulbous options – with the designs mesmerizing enough to be displayed alone or with contents.  And although nearly sold out, there’s a fluted collection featuring a raw exterior with glazed interior, with the fluting adding an additional handcrafted look in a gorgeous natural color palette.

In addition to the pieces themselves, Tortus also offers workshops in Copenhagen throughout the year, led directly by Eric. Available to all skill levels, it’s an intensive week of training covering wheel throwing, clay preparation and trimming along with an introduction to glazing, with each participant taking home four pieces with glaze at the end of the workshop.  You can find more details and available dates directly on the Tortus Copenhagen website, along with a full online store offering the Tortus collection.

The “Globus SLK320”, an extremely unique piece of art in the form of a pop art covered SLK was unveild in Key Biscayne, Florida.  The SLK320 was converted into art by none other than Laurence Gartel.  Born and raised in New York City, Gartel is considered to be the “FATHER” of the Digital Art movement around the world.

Laurence Gartel Mercedes-Benz SLK320

Call me uncultured, but unless you’re using the tissue paper and tape to cover up dents, scratches or rust, or using it to camouflage a new model, I’m not entirely sure why you would do this to a car.  But, in fairness, art is meant to evoke emotion and that it does, for me, it brings back memories of my Yo MTV Raps days.

Artist Eric van Hove  is a Belgian artist that was born in Algeria and grew up in in Yaoundé (Cameroon). After receiving a Cda-Projects Grant van Hove made his way to Morroco to create the V12 Laraki, an immensely labor intensive and excruciatingly detailed Mercedes V12 engine.  The engine is built from 53 materials that have been hand-forged by 35 Moroccan master craftsmen.

The V12 Mercedes engine completely dismantled

When we say labor intensive, we mean it.  The V12 Laraki was nine months in the making, beginning with van Hove completely disassembling a Mercedes engine.  Dismantling a Mercedes engine is a job in and of itself (although not unheard of), but for van Hove, the real work came when he then created reproductions of every single piece.  Working with several artists from different regions in Morocco, around 465 parts were made and 660 copper  bolts were cast.

V12 Laraki Parts

The engine itself has quite a long and impressive materials list including white cedar wood, high Atlas red cedar wood, walnut wood, lemon wood, orange wood, ebony wood of Macassar, mahogany wood, thuya wood, Moroccan beech wood, pink apricot wood, mother of pearl, yellow copper, nickel plated copper, red copper, forged iron, recycled aluminum, nickel silver, silver, tin, cow bone, goat bone, malachite of Midelt, agate, green onyx, tigers eye, Taroudant stone, sand stone, red marble of Agadir, black marble of Ouarzazate, white marble of Béni Mellal, pink granite of Tafraoute, goatskin, cowskin, lambskin, resin, cow horn, rams horn, ammonite fossils of the Paleozoic from Erfoud, Ourika clay, geometric terra cotta with vitreous enamel (zellige), green enamel of Tamgrout, paint, cotton, argan oil, cork, henna, rumex.

V12 Laraki Engine

The engine itself won’t be dropped into a Benz anytime soon, but it is an amazing piece of art that represents Morocco, its natural resources and its people.

The Mercedes CLA is known as a style rebel, pushing the boundaries of automotive design and the way we look at a four-door vehicle. And while Mercedes has impressed the world with the four-door mini coupe, they didn’t stop at the design – they’ve continued to push the boundaries of marketing with the CLA-Class as well.  Japanese artist Yasuaki Onishi was recently commissioned to sculpt the Mercedes CLA using a floating sheet technique that has become Onishi’s signature.

Speaking about his CLA sculpture, Onishi stated that “until now my works of art have been reminiscent of mountains, but this time I wanted to use a more materialistic object as the basis for my sculpture. Normally I stack cardboard boxes and cover them with a polyethylene film that is suspended in mid-air on sheer threads. Afterwards the boxes are removed and the film stays where it was. The CLA has something organic about it, a natural, aerodynamic shape that allows it to offer the air little resistance.”

In order to create his version of the CLA, Onishi spends five days filling a hot glue gun with black glue sticks, then uses it to cover fishing line that is connected to a sheet covering the Mercedes.  Once the process is completed, the car that had been raised up is lowered, while the sheet remains in place and leaves behind only a silhouette.

At the Paris Motor Show, scheduled for the end of September, Mercedes will bring a sculpture called “Aesthetics S”.  A teaser for the 2013 flagship luxury saloon.  Gordon Wagener,  Mercedes’s Head of Design, said that the new model will follow a tradition of expression of automotive culture that was set forth by previous generations as well as having striking lines that will put a new face on Mercedes-Benz designs over the coming years.

The debut of the relief-like sculpture at the Paris Motor Show will be combined with an exciting projection display. The scene will be set for the sculpture with the aid of light in a series of three acts, using a modern means of design and implementation.

With its sculpture entitled “Aesthetics S”, Mercedes-Benz is providing an artistic glimpse of the design of the luxury saloon of the foreseeable future. The aesthetics of the relief-like sculpture are combined with an exciting projection display. In the eyes of the observer, this creates a three-dimensional world and enables the creative imagination of the designers to be visualised to impressive effect. The modern production in three acts, developed by the Mercedes-Benz designers, will be on display in Hall 1 at the Paris Motor Show (September 27 to October 14, 2012).

Since the 1930s, the respective top-of-the-range model from Mercedes-Benz has played a very special role – not only for Mercedes-Benz, but also for the automotive world in general. An S-Class does not merely represent the latest state of the art, and as such acts rather more as a symbol and role model for the motor car. “The characteristic lines of the S-Class have always represented the expression of automotive culture, as we understand it. The new S-Class will continue this tradition and, with its striking lines, will put a face to our design philosophy over the coming years”, explains Gorden Wagener, Head of Design at Mercedes-Benz Cars.

Sculptural shapes, which are given structure and an element of excitement through characteristic lines, are a classic feature of Mercedes-Benz design. Reducing them to a relief-like design incorporating the main elements of the sidewall makes the power and significance of the lines visible and perceivable. In the case of the “Aesthetics S” sculpture, the exterior of a future luxury saloon is interpreted in an artistic manner. According to Wagener: “The sculpture highlights the artistic aspects of design. With the design and proportions of “Aesthetics S”, we are communicating a modern sense of status, sensual shapes and stylish sportiness.”

The debut of the relief-like sculpture at the Paris Motor Show will be combined with an exciting projection display. The scene will be set for the sculpture with the aid of light in a series of three acts, using a modern means of design and implementation. The shape will be revealed through projected light reflections, creating a three-dimensional world in which the creative imagination of the designers can be visualised to impressive effect. In addition to the organic, naturally-occurring flowing forms which act as a source of inspiration to the designers, it will also possible to appreciate the scope of impact exerted by the S-Class tradition. This is to be achieved by incorporating four S-Class models from past decades – namely the model series 189, 108, 126 and 221. According to Wagener: “The Mercedes-Benz S-Class has always impressed with its timeless design, which has existed for decades and has always pointed the way ahead. The sculpture is a continuation of this, and sets the scene for the development of a new S-Class.”

With the “Aesthetics S” work of art, Mercedes-Benz is continuing its “Aesthetics” series of sculptures which to date comprises the pieces “Aesthetics No. 1” (2010), “Aesthetics No. 2” and “Aesthetics 125” (both 2011).

In 1955, the Mercedes-Benz built two coupé versions of the Mercedes-Benz 300 SLR racing sports car. They were specifically designed for long-distance races, to provide somewhat more comfortable conditions for the driver than in the open version. Externally, the car looked similar to the 300 SLR, but with purebred Formula 1 technology under the bonnet.

Unfortunately these super cars of their time did not find their way into any customers’ hands, but one fortunate individual was able to enjoy the attributes of the Mercedes-Benz 300 SLR: its designer, Rudolf Uhlenhaut. On the cancellation of the sixth Carrera Panamericana race in 1955, in which the coupé was to be used for the first time, and since Daimler-Benz AG withdrew from racing at the end of that season, Uhlenhaut was allowed to drive one when travelling on business – and he made extensive use of this privilege. Accordingly, the car has become known as the “Uhlenhaut Coupé”.

Now, three German friends Armin Ciesielski, Peter Brakel and Walter Willer have decided to recreate one of the greatest car ever scrapped by Mercedes – and they decided to build it out of scrap.

In order to pay their respects to the 300 SLR, the group from Giganten aus Stahl, Giants of Steel, meticulously chose over ten-thousand pieces of metal for the sculpture.

“The Uhlenhaut is a really special Mercedes and we wanted to make a replica.” said Armin

“It took me and my friends seven months of hard work to perfect and we used more than 10,000 pieces of metal.

“The car was a very difficult model to make because of all the intricate details and we made the engine look identical to the original. It weighs nearly 1,000kg.”

It is believed that if either of the models were sold today, they would pull in bids in the tens of millions and easily become the most expensive car in history. As for the scrap metal Mercedes-Benz 300 SL sculpture, Armin is selling it for a mere £60,000.

Imagine taking a 500,000 € Maybach out back, shooting it full of bullet holes, writing on it and then putting it on display as art. That is exactly what artist and filmmaker Julian Schnabel did on the canals of Venice, Italy.

“Barbara” on the rear bumper, “Lola” on the driver’s side: A total of about 60 names, the artist wrote in deep red next to each bullet hole. The title of this unusual work: “The Ones You Did not Write – The Maybach Car”. Why the name? Julian Schnabel: “Women, connect me with those beautiful memories.

The exhibit will be on display at one of the most exciting art exhibitions of the year in Venice – La Biennale di Venzia until November 27, 2011.

Maybach is setting yet another milestone in its capacity as a promoter of international art at the highest level. From 2011 Maybach is the official partner of the famous Louvre Museum – the first car brand in the world to take on this role. On Maybach’s initiative, over the next three years a series of sculpture installations featuring work by internationally renowned contemporary artists and sculptors will be staged on the presentation area beneath the world-famous glass pyramid. It will be the first time since the glass pyramid was built in 1989 that the area will be used for the installations of works of art, starting today with a brand-new sculpture by the leading British contemporary artist Tony Cragg, to be shown as part of his major exhibition at the Louvre until October 2011.

“We are absolutely delighted to have the opportunity to work together with this world-famous art institution, as the Maybach brand and the Louvre share a keen sense of excellence, uniqueness and tradition”, comments Patrick Marinoff, Global Brand Manager Maybach. “Above all, the uniqueness of our identities have provided fruitful ground for our collaboration and led us to the particular idea of presenting artworks in a space that has never before been used for that purpose.”

“The Louvre is very happy to have on its side a partner like Maybach whose commitment will allow the museum to organise in the next three years the presentation of ambitious contemporary art installations under Pei’s Pyramid”, said Marie-Laure Bernadac, Curator charge, and special advisor on contemporary art at the Louvre.

Tony Cragg – one of the most renowned sculptors of our time

The Louvre’s partnership with the luxury brand from Stuttgart marks the extension of the museum’s Contemporary Art programme. For this first collaboration, Tony Cragg presents the new sculpture “Versus” under the glass pyramid. This monumental sculpture is produced especially for this exhibition at the Louvre showing eight other sculptures in the Cour Marly and in the Cour Puget. Maybach is the main sponsor for both the exhibition and the installation beneath the glass pyramid.

A graduate of the Royal College of Art in London, Tony Cragg has lived and worked in Wuppertal, Germany since 1977. He has explored a wide variety of types of practice in sculpture and has made vast contributions to contemporary debates on sculpture. His artworks are complex phenomena based on familiar natural and everyday objects reaching towards an abstract appreciation of the human body, and possess an impressive vitality that captivates the viewer as part of a truly fascinating artistic experience. Tony Cragg was awarded the Turner Prize in 1988 and was elected to the Royal Academy of Arts in 1994. In 2008, he has opened a sculpture garden in Wuppertal and since 2009, he has been Principal of the Academy of Arts in Düsseldorf.

The Louvre – the world’s most visited art gallery

With some 8.5 million visitors every year, the “Musée du Louvre” is the most visited art museum, and with its exhibition area of around 65,000 square metres it is the third largest museum in the world. The art collection comprises approximately 380,000 works, of which some 36,000 are on display. The spectrum of high-calibre exhibits ranges from Ancient Egypt, Greece and Rome, through Italian Renaissance painting and Flemish painting from the 16th and 17th centuries to French painting of the 15th to 19th century.

Maybach – Extensive backing for high-quality contemporary art

Over the past five years, Maybach has been successful in establishing itself in the international world of contemporary art. Its involvement covers three main focal points: firstly the tradition-steeped automotive Manufaktur (hand-finishing section) supports top international artists. For example, after exclusive partnerships with star photographer David LaChapelle and designer Tim Berresheim in 2009, Maybach currently works together with the renowned painter, sculptor and filmmaker Julian Schnabel. Secondly, the brand provides backing for renowned institutions on the art scene, such as the Fondation Beyeler in Basel, Switzerland and the Louvre in Paris, France, which are both in partnerships with Maybach. In addition to this, Maybach is represented at important art events such as the St. Moritz Art Masters and offers customers special access to major art fairs. The involvement is rounded off by combining art and social commitment, in keeping with the mentoring philosophy of the Wilhelm & Karl Maybach Foundation.

Mercedes-Benz co-sponsored The Art of Elysium’s Fourth Annual Black Tie charity gala titled “Heaven” on Saturday, January 15, 2011 at the California Science Center’s Annenberg Building. The night before the Golden Globes, the Charity’s largest fundraiser brings together Hollywood’s most influential and creative talent for an evening of celebration and inspiration.

“We have a great appreciation for the work being conducted by The Art of Elysium and the dedication of its staff and supporters,” said Lisa Holladay, Brand Experience Marketing with Mercedes-Benz USA “Our involvement aims to enrich the evening for everyone and make it a successful event that allows The Art of Elysium to continue its mission in helping children in need.”

As the automotive sponsor, Mercedes-Benz provided S400 Hybrids for VIP transportation and BlueTEC clean diesel transport for children attending the gala, who were inspired by the Art of Elysium during their time in a hospital.

The S400 HYBRID features the world’s first lithium-ion battery in a production vehicle. The 275-hp V6 gasoline engine provides impressive fuel economy with an estimated 30 miles per gallon on the highway. Celebrities such as Rachel Bilson, Jake Gyllenhaal, Eva Mendes, Julia Stiles, Matthew Rhys, Kirsten Dunst, Eva Mendes, Kelly Osbourne, Nicole Richie, Cameron Silver, Brittany Snow, Elijah Wood were transported in S400 Hybrids and other Mercedes-Benz vehicles.

As The Art of Elysium and the broad range of musicians, actors, photographers and numerous artists dedicate their time to inspire, Mercedes-Benz aimed to create an inspirational vehicle display for event guests entering the gala with the ultimate example of Mercedes-Benz heritage and innovation — a vintage 1956 300SL gullwing next to a 2011 SLS AMG gullwing.

In 2011, Mercedes-Benz celebrates 125 years of the automobile and its future. It was Carl Benz’s patent of the automobile that occurred around the same time as the invention of motion pictures. No one knew the impact that these inventions would have on society, but now more than a century later, Hollywood and Mercedes-Benz are synonymous with glamour and luxury. Both share a rich and inspirational history together – in front of the camera and behind the scenes.