London Design Festival Part II One of the best things about the London Design Festival is that while you see new things by established names, you're also seeing work - much of it interesting, and some of it excellent - by young designers. Jasper Morrison is an extremely successful product designer, but at the tiny shop next to his Shoreditch studio (24b Kingsland Road, London), Morrison loves to exhibit the mundane objects whose utilitarian beauty underpins much of his work. A couple of years ago, he showed trays from all over the globe; this year, it's "Tapes of the World," which features all manner of colored and patterned tape, artfully stacked and hung. The online design magazine Dezeen curated "Seven Designers for Seven Dials," a collaboration between Dezeen and the Seven Dials shopping district that includes seven aerial installations by seven younger designers. Among them are Faye Toogood's "7x7," which consists of 49 workers' overcoats, suspended above Monmouth Street, that represent the various trades for which the neighborhood was known. The coats, made from canvas colored with recycled blue paint, illustrate Toogood's fascination with craft - as does the Back Room, an installation at her studio that included a small-batch production of her previously handmade furniture designs, and the M25 Lunch, a collaboration with the food design collective Arabeschi di Latte that offered a contemporary, locally sourced take on the traditional British ploughman's lunch. Also in Seven Dials is Philippe Malouin's "Bunting," a captivating series of 60 lines of transparent, colorless PVC flags, hanging above Earlham Street, that appear and disappear with changing light and sky conditions, and which celebrate the area without obscuring its architecture. One of the most thoughtful exhibitions of the week, with just five pieces, is in a small basement space at 8 Egerton Gardens Mews in the Brompton Design District. "Image for a Title: Placebo Effects in the Cultural Landscape," organized by the Workshop for Potential Design, asks how "conditions and expectations affect the way we form ideas about an object or an image." The show's organizers, Bernadette Deddens and Tetsuo Mukai (who design under the name Study O Portable), produced a piece called "RGB": three giant laboratory slides, each of which contains a powdered pigment (cinnabar, malachite and azurite) that was once considered to have superpowers but whose colors are now more commonly associated with the RGB color mode of our tech-saturated world. Gemma Holt's "Semblance" is a series of what look like solid wooden blocks that are actually veneered boxes, in an elegant confounding of the viewer's expectations. And Paul Elliman's "Baby You Could Have Whatever You Like" is a haunting arrangement of handmade and found objects that resemble or mimic rock and mineral formations. For example, what looks like a cluster of crystals is actually constructed of the carcasses of Bic pens; something that appears to be an oyster shell is in fact a deodorant bottle turned inside out. These items are displayed next to actual rocks and bricks picked up from a street in the City's Hackney district after the riots of 2011. This modest, understated exhibition packs quite a conceptual punch.