From hand-made to mass production, textiles have the power to tell stories and increasingly furniture designers are finding opportunities to cross over into the fashion world. Penny Craswell explores new concepts and material qualities in textiles and fashion at Milan this year.
In the flagship showroom of Swedish textile company Kinnasand at Corso Monforte, a series of kite-like shields fly overhead, an installation created by Studio Weiki Somers from Rotterdam. The installation is the material manifestation of a new research initiative called Kinnasand LAB in which design director Isa Glink collaborates with external designers to interpret existing textiles and innovate new products for the brand. The resulting product – Shield – consists of semi-transparent layers of embroidered fabric with wooden panels, like large ice-cream sticks, that can bring rigidity and weight to the fabric or be removed to increase flexibility and transparency. For Weiki Somers the experience of working with Kinnasand made her reflect on the qualities of textiles: “The qualities of a material can strengthen the connection between a person and an object. Especially textiles can stimulate our senses and more than other materials they can evoke memories and emotions, and make you feel at home,” she says. Read more →
This year I’m reporting on the fair from home in Sydney, but thanks to email and social media (hello Instagram), there is plenty filtering through already from the world’s largest furniture design event, the Milan Furniture Fair. Here’s five designs that have instantly caught my attention, from designers near and afar, even before the fair begins.
1. Ross Gardam’s Polar Desk Lamp
Since launching his studio in Melbourne in 2007, Ross Gardam has launched several furniture and lighting pieces and his Polar desk lamp is being shown at Ventura Lambrate in Milan this year. These photos by Haydn Cattach show a variety of colours and backdrops – it will be interesting to see how these translate to different environments.
The London Design Festival is a museum-focused design event, rather than a commercial fair, and this is evident in the number of installations, talks and object exhibitions included. Two of the most amazing installations this year were by London-based designer Faye Toogood: The Cloakroom at the V&A Museum and The Drawing Room at Somerset House.
I first met Faye when she visited Sydney for The Blocks, a multi-sensory installation she created for Penfolds Wine at Sydney’s Walsh Bay in 2012 (read my article here). At The Blocks, Faye reinterpreted five flavours of wine grapes using the sommelier’s notes, working with sculptors, perfumiers and artists to create the installation inspired by the description of the scent. This is typical of her approach, which is not only focused on making objects, but also includes a conceptual and curatorial element. Read more →
“We visit Boots in his Fitzroy studio. The streets lined by large oaks and restored facades are a far cry from the suburb’s working working-class roots, when Boots’ studio would have been home to one of many factories that formed the beating heart of the area’s industrial past.
“From an outsider’s perspective, Boots is living the dream: a studio in a fashionable suburb—which also doubles as his house—and luxury brand Hermes calling to design the Christmas lights in their New York store.
“Inside, Boots’s studio is a flurry of activity flanked by the fixtures that have brought him acclaim the world over. By one wall, there are iterations of Boots’ signature crystal fixtures, thePrometheusseries: handmade chandeliers embellished with quartz around a ring of bronze.”
Alan Weedon visits Christopher Boots in his studio for Broadsheet, a well written article that gives in insight into this hard-working, talented designer.