To design is to tell stories: the Ferro collection is a tale of contrasts and mystery

This article features an interview with Mary Graham and Nicole Salvesen, co-founders of the interior design firm Salvesen Graham, renowned for their classic-meets-contemporary aesthetic. The discussion centers around the launch of their debut book, ‘A New English Style: Timeless Interiors by Salvesen Graham,’ offering insights into their design philosophy, sources of inspiration, and fundamental style principles. The designers reflect on the book's creation process, noting that it prompted a deeper consideration of their client work, their evolution as a practice, and their aspirations for growth. They emphasize that English style is inherently dynamic, characterized by ongoing change and the layering of new elements onto existing structures. The process also allowed them to revisit earlier projects, confirming the enduring quality of their initial designs even after a decade. Addressing the balance between English style's rich legacy and contemporary relevance, Salvesen and Graham explain that they always begin by examining the building itself. This approach helps identify traditional elements to be preserved, restored, and celebrated, guiding the overall design direction. They stress that homes should be vibrant and lived-in, not static museums. To inject modernity, particularly in traditional settings, they prioritize personal belongings such as artwork, books, and object collections. They highlight the impact of combining a formal drawing room with a striking piece of contemporary art as a central feature. Regarding the influence of location and setting, the designers assert that the essence of English style is not geographically confined. It can be successfully applied globally, adapting its unique character to each new environment. They liken this adaptability to how each project differs based on individual client preferences. The core of their approach lies in the 'spirit of decorating,' which encompasses layering, incorporating antiques, and prioritizing comfort, rather than being dictated by a specific setting. Layering is a fundamental aspect of their style, and they advise confidence in its execution, suggesting that more layering often leads to better results. They advocate for a mix of patterns and plains, alongside a variety of textures, to achieve depth in a room. For instance, the light-absorbing quality of thick cotton velvet can effectively contrast with a light-reflecting chintz. They clarify that layering extends beyond fabrics to include all elements of a room: flooring, lighting, art, books, and the tones and finishes of paintwork. The aim is a considered, not necessarily fussy, aesthetic. The designers emphasize the critical role of antiques in grounding a room and imparting authenticity, advocating for pieces with clean lines and excellent proportions, whether a 1970s glass lamp or a Georgian center table paired with a modern pendant light. They advise a gradual approach to incorporating antiques, adding pieces over time until a personal balance is achieved. Their approach to color involves strategic splashes in unexpected places within traditional spaces, such as inside a larder cupboard or at the end of a corridor. They acknowledge a contemporary conservatism regarding color in homes, contrasting it with historical periods that embraced more vibrant palettes. Often, they derive color inspiration from a favorite patterned fabric, extracting various hues and applying them with differing intensities to establish a room's identity. The designers confess to occasionally bending conventional design rules in their own homes, particularly regarding pragmatic considerations like heating requirements, prioritizing aesthetics over strict guidelines. They also take a relaxed stance on rules concerning wall light height or furniture spacing, believing that comfort and intuition are paramount. Living with their own interiors has reinforced the importance of quality design and craftsmanship. They note that well-made, classic pieces provide a stable foundation around which styles can evolve, allowing accessories, artwork, and furniture coverings to change while the room's essential structure remains. This concept of 'getting the bones right' applies to architectural details, room layouts, and investment pieces. They draw a parallel to fashion, where a timeless core allows for subsequent embellishment. The concept of 'Future Heritage' means creating interiors that honor and draw inspiration from the past while integrating modern aesthetics, technologies, and lifestyles. Their designs aim to bridge historical elements with contemporary innovations, yielding interiors that are both timeless and forward-looking. Ultimately, they hope their book offers readers a versatile, approachable, and accessible guide, encouraging them to celebrate heritage without being constrained by tradition, and to confidently infuse their homes with personal expression. #InteriorDesign #SalvesenGraham #EnglishStyle #FutureHeritage #TimelessInteriors #DesignInspiration #HomeDecor #Layering #Antiques

Extra&ordinary; Design is a London-based studio founded by Hyunhee Hwang, specializing in creating design-led products that elevate everyday spaces. Hwang's extensive experience in the design industry in South Korea and England, spanning over a decade, has shaped her distinctive aesthetic. This aesthetic is characterized by a blend of playful colors, sculptural forms, and the innovative use of jesmonite, a versatile composite material known for its tactile qualities and ability to mimic natural stone. The studio's latest collection, named Scala, draws inspiration from the grandeur of Roman marble architecture, specifically focusing on the visual elements of marble block stairs and columns. The Scala collection encompasses a range of home objects, including vases, candle holders, incense holders, and decorative trays. Each item within this collection is individually cast and meticulously handmade, resulting in unique marble-like characteristics and finishes. This artisanal approach ensures that no two pieces are exactly alike, adding to their individual charm and exclusivity. The use of jesmonite allows for the replication of marble's luxurious appearance while offering a more sustainable and lightweight alternative. Beyond the Scala collection, Extra&ordinary; Design also features pieces from its Jumony collection. This collection includes accessory trays and wall-mounted planters, which are distinguished by their ruffled edges. These delicate, fabric-inspired details are a direct nod to traditional Korean garments and accessories, reflecting Hwang's cultural heritage and her ability to integrate diverse influences into contemporary design. The Jumony collection's design elements evoke a sense of softness and movement, contrasting with the more structured forms of the Scala collection, yet maintaining the studio's overarching commitment to unique and visually engaging objects. Extra&ordinary; Design's philosophy centers on transforming mundane household items into pieces of art that contribute to the overall aesthetic and atmosphere of a home. By focusing on unexpected forms, vibrant colors, and innovative materials like jesmonite, the studio aims to create objects that are not only functional but also serve as focal points in a space. This approach challenges the conventional understanding of home furnishings, encouraging consumers to view everyday objects as opportunities for artistic expression and personal style. The studio’s dedication to craftsmanship and thoughtful design is evident in every piece, making each a conversation starter and a testament to the beauty that can be found in the reimagining of the ordinary. #ExtraordinaryDesign #HomeDecor #Jesmonite #SculpturalDesign #InteriorDesign #HandmadeObjects #ScalaCollection #JumonyCollection #HyunheeHwang

Mark Mitchell's 'Sunbeam Side Table' is a conceptual piece of furniture designed to replicate the visual phenomenon of sunbeams radiating through clouds, despite the parallel nature of actual sunlight. This design draws inspiration from the optical illusion that makes distant sun rays appear to converge from a single point in the sky. The product, crafted from Botticino marble in collaboration with Serafini, is intended to evoke the sense of mystery and wonder associated with this natural occurrence. The side table features intricate carvings that allow its spruce wood surface to interlock with the marble base without the need for adhesives, demonstrating a blend of aesthetic appeal and thoughtful construction. The design's functionality is highlighted by its ability to split light from an overhead spotlight through its wooden fins, projecting a sunbeam pattern onto the angled marble surface below. This interaction of light and material is central to the table's purpose, creating a dynamic visual experience for the user. Mitchell emphasizes that the design goes beyond mere aesthetics, aiming to tell a story and enhance user experience through its narrative qualities. The 'Sunbeam Side Table' is described as a totemic product, reflecting the designer's intent to capture and share moments of natural beauty within a functional object. The choice of Botticino marble for its fabrication underscores the product's luxurious and refined character, while the detailed craftsmanship by Serafini artisans ensures its high quality. The design process is deeply influenced by Mitchell's characteristic approach, which integrates poetry, wanderlust, and romance into his creations, whether they are products, spaces, or experiences. This side table is a testament to his ability to translate abstract natural phenomena into tangible, artful furniture. The piece serves not only as a functional item but also as a conversation starter, inviting contemplation on the interplay between nature, perception, and design. #FurnitureDesign #ConceptDesign #InnovationDesign #InteriorDesign #MarkMitchell #BotticinoMarble #Serafini #LightInteraction #EtherealMoments

Chencong Zhang, an interior designer and spatial experience designer, embarked on her creative journey driven by a deep desire to create spaces that evoke a sense of belonging. Her personal experience of longing for comfort and familiarity, stemming from being away from her family since the age of 11 and being unable to see them for over 4.5 years due to the pandemic, fueled this aspiration. Initially, Zhang pursued civil engineering as an undergraduate, a popular field in China at the time. However, after two years, she realized it was not her true calling and took a gap year to explore modern arts, design, and other creative avenues. This period ignited an urge to pursue work that resonated emotionally and could impact others' feelings positively. Her first significant step into interior design came in 2015 when she had the opportunity to work on a 7000 sq ft office in Shanghai. The project's goal was to create a comfortable, communicative working environment that seamlessly integrated with its spacious outdoor terrace. Zhang's creative input, particularly her use of colors and materials in material boards and Photoshop renderings, was highly praised. She also collaborated on designing and installing a ceiling installation made of stone and wood, a challenging but rewarding experience that solidified her passion for design. In 2016, Zhang officially began her interior design education at RISD (Rhode Island School of Design). There, she learned about transforming old spaces, gaining inspiration from successful case studies, and connecting with like-minded peers and professors. A pivotal experience was a 2018 visit to Morocco with the Architecture and Ceramics department, where she immersed herself in Islamic art, rich colors, and intricate patterns. This trip, and the subsequent creation of pieces reflecting cross-cultural exchange, broadened her perspective and reinforced the impact of cultural fusion in design. Zhang views storytelling as the core magic behind creating distinctive and tailored spaces. She emphasizes that interior design is about imbuing spaces with personality and crafting a journey for occupants. Her process involves extensive research and imaginative exploration of possibilities. She cites a hotel rooftop design project in Miami, where she integrated elements inspired by the local subtropical climate, lush landscapes, and Bahamian murals, resulting in a bold and unique space that garnered positive online reviews. Zhang attributes her ability to be a good storyteller of spaces to her sensitive nature, which allows her to deeply feel and, in turn, enable others to feel. Her time at RISD, interacting with artists from various disciplines like digital art, glassmaking, furniture design, and textiles, further enriched her understanding of different media and their application in expressing a space's personality. While acknowledging the challenges of bringing creative designs to fruition, including time, cost, and durability, Zhang highlights the importance of problem-solving. Her experience leading the construction administration for a 200-key, $50 million hotel renovation project taught her invaluable lessons in collaboration with consultants, contractors, and clients, and in making informed compromises to deliver high-quality results. She defines her role as a designer as helping clients realize their dreams, emphasizing listening to their needs, offering options, and respecting their perspectives. Zhang's personal journey underscores the message of following one's heart to discover one's true self and purpose. #InteriorDesign #SpatialExperienceDesign #CreativeJourney #StorytellingInDesign #RISDAlumni #CulturalExchange #ProjectManagement #DesignPhilosophy #Entrepreneurship

Friedmann & Versace is an interior architecture studio based in Paris, founded in 2018 by Virginie Friedmann and Delphine Versace. The duo specializes in designing restaurants, bars, hotels, boutiques, homes, and custom furniture, emphasizing a sophisticated 'art de vivre.' Their design philosophy centers on creating a dialogue between historical and contemporary elements, using a blend of colors, materials, and objects from various styles and periods to tell a unique story for each project. Notable projects include eateries like Bistrot Rougemont and Baby Doll. The article features an interview with Friedmann and Versace, discussing their approach to narrative design and their inspirations. They delve into two of their recent restaurant projects in Paris: Matilda and La Riviera. The Matilda project began when a client sought to open an Italian restaurant in a space with large windows and Art Nouveau wooden decorations, honoring his Italian grandmother. The designers aimed to retain these existing features while creating a poetic, dreamlike atmosphere. Their inspiration for Matilda came from Milanese reception rooms, the aesthetic of frescoes aged by time, and the elegance of Italian furniture, blending different eras and styles. For La Riviera restaurant, the vision was to evoke an endless summer and a Mediterranean journey. The design draws inspiration from the Mediterranean coast, the scent of pine trees, enameled, raw, and varnished terracotta, the architecture of cruise ships, and the artistic world of Jean Cocteau. The primary challenge for La Riviera was to construct an immersive environment that transports diners to a different setting, despite its location in a busy Paris neighborhood near Gare du Nord, devoid of a natural seaside view. Friedmann and Versace observe that restaurant design trends have evolved significantly over the past decade, with owners increasingly prioritizing distinct designs. Their narrative design approach involves crafting a unique story for every project, focusing on developing lifestyle spaces with soul and personality. They extend their design work beyond mere decoration to include graphic elements such as logos, menus, signage, and the selection of tableware and music, ensuring a cohesive and perceptible story throughout the customer experience. Their French design heritage significantly influences their work. They express admiration for designers like Charlotte Perriand, Roger Capron for his ceramic paintings, and Madeleine Castaing for her patterns. Their earliest design memories include a Gabriella Crespi bronze and rattan lamp and Charlotte Perriand's furniture for Le Corbusier's La Cité Radieuse. They draw inspiration from industry figures such as Janine Abraham and Dirk Jan Rol, appreciating their collaborative spirit, compositional skills, respect for traditional craftsmanship, and shared creations. Dimore Studio is also cited for their singular projects and adept blending of colors, styles, and eras. Virginie Friedmann describes her own home as a Haussmannian apartment in Paris, characterized by large windows, velvet accents, green-hued lamps, and a mix of contemporary and vintage furniture, ceramics, candles, and plants. The studio has several upcoming projects, including two new restaurants in Paris slated to open by year-end: one designed as an Estancia's winter garden in the 8th arrondissement and another as a warm, elegant country house with a fireplace in the 13th arrondissement. In 2020, they plan to complete two houses near Paris, a skin studio concept, and a showcase at Hotel Lutetia. For leisure reading, both designers enjoy lifestyle magazines, and Delphine Versace recently reread Virginia Woolf's "A Room of One’s Own." #InteriorDesign #RestaurantDesign #ParisianDesign #NarrativeDesign #FrenchDesignCulture #DesignInspiration #FriedmannVersace #HospitalityDesign #ResidentialDesign

The article explores the concepts of "design thinking" and "design feeling" in the context of everyday objects and their impact on human experience. While design thinking focuses on optimizing user experience and functionality, "design feeling" emphasizes the ability to align objects with broader socio-cultural contexts, thereby enriching the perceived quality of design. This concept becomes particularly relevant in an era marked by digital inconsistency and economic uncertainty, where people seek tangible reassurance and comfort through their surroundings. The article highlights that many everyday objects are often poorly designed, leading to incoherent routines. Design thinking attempts to streamline these routines, but it is insufficient to address the deeper meaning and emotional connection individuals form with objects. "Design feeling" aims to bridge this gap by considering the intangible aspects of design that resonate with contemporary societal shifts. Several contemporary design pieces are presented as examples of "neo-transitional objects." These objects are characterized by their mild appearance, cozy feel, soft bends, and light-porous colors. They offer a sense of comfort and stability in a world increasingly dominated by digital abstraction and economic precarity. The term "neo-transitional objects" is derived from psychologist Donald Winnicott's concept of "transitional objects," which are items like teddy bears or blankets that help children navigate the transition from dependence to individuality. Specific examples of such designs include the "Up" lamp by Mattias Ståhlbom for Muuto, "Apps" by Richard Hutten for Artifort, and the "Basset" armchair by Iskos-Berlin for Versus. These designs are described as embodying the transition from a more tangible past to a digitally defined future, providing comfort rather than unease. The "Mega" series by Chris Martin for Massproductions and the "Haiku" sofa by GamFratesi for Fredericia are also cited as exemplifying this trend, balancing Italian expressiveness with Nordic strictness to create beautiful, reassuring pieces. Luca Nichetto's work, such as the "Stewie" lamp for Foscarini and the "N=N" collection with Oki Sato (Nendo), demonstrates weightless lines and cozy colors that sublimate the objects. Similarly, Karim Rashid's "Float" sofa for Sancal showcases a softening of tones, contributing to the overall sense of cognitive kindness. These designs aim to provide a sense of belonging and familiarity, helping individuals cope with the uncertain reliability of a digitally-influenced reality. The article concludes by emphasizing the importance of designing objects with layered aesthetic meaning to foster a sense of being "at home" amidst increasing intangible complexity. #DesignFeeling #NeoTransitionalObjects #ProductDesign #InteriorDesign #ContemporaryFurniture #PsychologyOfDesign #LucaNichetto #RichardHutten #GamFratesi

The article introduces the Diesel Home Collection, a collaboration between fashion brand Diesel, lighting brand Foscarini, and furniture brand Moroso. This collection, showcased at the Salone Internazionale del Mobile in Milan, features a range of furniture and lighting designed to express the Diesel style through ironic, irreverent, and creative means. The lighting collection, developed with Foscarini, offers lamps inspired by various themes, from rock music to retro aesthetics. The Graf collection, for instance, draws inspiration from pop music, featuring graphic representations of DJ consoles and natural elements on its opaque weave fabric. These lamps are available in hanging, table, or floor versions and provide a warm, diffused light. The Rock lamp, a standout piece, is an artistic interpretation of a split volcanic rock, with a rough, dark exterior and a shiny, iridescent interior that creates dramatic visual effects when illuminated. Stud, another lighting design, embodies rock energy with metal nails on its base and a chrome-plated diffuser reminiscent of mirrored sunglasses, offering variable lighting effects. Cage lamps are inspired by old lanterns, featuring a luminous body protected by a decorative metal cage with an irregular structure. These come in white, black, and light green, offering different moods and visual transformations when switched on. Glas reinterprets classic work lights found in warehouses and factories, using innovative materials like glass with a silver-colored surface to create a unique decorative element with a retro feel. The Fork lamp is an ironic nod to camping, with a canvas shade resembling tent stitching, available in floor and table versions. Tri-p is a portable floor lamp with an umbrella-like structure, designed for easy transport and featuring a changeable elastic fabric shade. For furniture, the collaboration with Moroso resulted in the "Successful Living from Diesel with Moroso" collection, designed to embody a relaxed and comfortable informal lifestyle. This collection targets consumers who appreciate simple shapes combined with high-quality materials and distinctive, pure-lined designs. Patrizia Moroso, who oversees the design projects, explains that the collection explores two coexisting aspects of contemporary trends: a darker, underground-inspired aesthetic with an aggressive and enigmatic feel, and a lighter, nature-inspired one with soft, welcoming shapes. This approach led to the creation of the Camp and Rock collections. The Camp collection includes the Nebula Nine Sofa, described as soft like a large cloud with generous shapes and stonewashed linen covers, providing an ideal space for relaxation. The Cumulus Chair offers similar comfort with its large cushions. This collection also features hand-painted wooden furniture such as the Overdyed Lounge Chair, Overdyed Side Chair, and two tables (rectangular Overdyed Table and round Overdyed Side Table). The painting technique, known as ragging, reveals the natural wood streaks and creates a special vintage effect, complemented by black-painted steel support structures. The Rock collection takes a different direction, drawing heavily from music, concerts, and visual idioms. The Xraydio 2 Disc occasional table features an X-ray print of a DJ console on glass, using electric blue and black shades to create a strong, evocative, and iconic effect. The Xraydio 1 Razza table uses a similar process with an image of a ray fish. The 3-panel screen, Xraydio 3 Natura Morta, displays a photographic image playing with the archetype of a seventeenth-century still life. Further rock-inspired elements include the Bar Stud stools, available in two heights, and the Ego Stud mirror, both adorned with studs on leather. A special item is the Flightcase storage unit, inspired by musician's instrument cases, available with two or three doors. The entire collection aims to create an alternative and distinctive mood, where each product possesses a strong identity that is further enhanced when combined, resulting in a laid-back, fun, and rock-inspired atmosphere. #DieselHomeCollection #FurnitureDesign #LightingDesign #MilanDesignWeek #Foscarini #Moroso #InteriorDesign #ContemporaryDesign #ProductLaunch

Krysti Lyn, a whole home designer, discusses her career journey, design philosophy, and personal experiences. She reveals that her career in design began at the young age of seven, identifying it as an innate gift for "seeing in scale." This ability allows her to visualize how objects fit within a room beyond their aesthetic contribution, a skill she considers a designer's superpower. Despite not actively choosing this path, she expresses gratitude for the opportunity to fulfill her purpose daily, serving clients who benefit from her unique perspective. Lyn specializes in a transitional design aesthetic, which involves blending and merging various design styles and periods. She emphasizes her versatility and ability to select appropriate materials for her clients, attributing her success to this client-centric approach. Her professional journey, however, has not been without challenges. She openly shares that her personal and work life was significantly impacted by domestic violence. This experience, while difficult, ultimately strengthened her resolve, teaching her the importance of self-advocacy and re-focusing on her future. She highlights that this period of adversity made her more determined and taught her to establish boundaries, including learning to say "no." Her professional goals include maintaining her status as an authority on design options, continuously integrating new products, tools, and styles into her practice. She prides herself on creating timeless designs for her clients, understanding that her work involves a significant degree of responsibility and trust. These two elements, she notes, are fundamental to her profession. She considers the ability to build and maintain trust with clients as paramount to her success. When asked about her recommendations for a friend visiting Los Angeles, Lyn outlines a personalized itinerary. This includes a casual meal at In-N-Out Burger, followed by a three-day staycation at her home in Palm Desert, complete with a hot tub, private massages, charcuterie, and Malbec red wine. The trip would also feature a short visit to Las Vegas for a show and a stay at a luxury hotel, interspersed with visits to quaint local spots for improv or murder mystery dinners. A morning drive to Malibu for breakfast to enjoy the scenic views is also on the list. For those interested in Hollywood, she mentions a visit to a famous celebrity cemetery. Significantly, she emphasizes introducing her friend, Kathy, to as many clients as possible, revealing Kathy's integral role as a faithful assistant, confidante, and source of support throughout her career. This acknowledgment underscores the importance of personal relationships in her professional life. Lyn also touches upon the role of mentorship in her career, stating that she did not have a traditional mentor. Instead, she navigated her early career through prayer and faith. She acknowledges one instructor from Harrington design college who authored a notable Modern Furniture Resource Book, and expresses that being recognized by Harpo Studios for her participation in "The Ugliest Room Contest" was a pivotal moment, making her feel understood and appreciated early in her career. This recognition served as a validation of her unique talent and approach to design. #InteriorDesign #HomeDecor #TransitionalDesign #DesignPhilosophy #Entrepreneurship #PersonalJourney #CreativeProfession #ClientRelationships #LosAngeles

This article features an interview with Pierre Frey, the Communications Director for the House of Pierre Frey, a renowned Parisian fabric house founded in 1935 by his grandfather. The discussion centers on the company's design philosophy, its history, and Frey's personal insights into interior design, particularly in the context of the upcoming Christie's auction, _The Collector: English & European 18th & 19th Century Furniture, Ceramics, Silver & Works of Art_ on April 9 in New York. The House of Pierre Frey is distinguished by its commitment to quality within the French tradition and an inventive, eclectic design philosophy. The company's collections integrate diverse materials and motifs, leveraging the expertise of master weavers, printers, and embroiderers. Their clientele includes private individuals, leading decorators, upholsterers, and cultural institutions. For the Christie's auction, Pierre Frey supplied a selection of wallpapers and fabrics to create room sets, demonstrating how their products complement classic pieces. Pierre Frey describes the company's design style as eclectic, frequently drawing inspiration from art, travel, and various cultures. He emphasizes the brand's audacious approach, often incorporating unexpected colors or bold patterns, which he notes differentiates them from other design houses that tend to play it safe. The company, still headquartered in its original 1935 building in Paris, has expanded to include five brands—Pierre Frey, Braquenie, Boussac, Fadini Borghi, and Le Manach—producing a wide range of fabrics, wallpapers, carpets, and furniture. While globally influenced, their perspective remains distinctly French. Frey highlights his grandfather's significant influence on his own design outlook, noting that the founder was constantly surrounded by artists and transformed their art into home fabrics. This legacy of appreciating creativity and nature continues within the company, which now collaborates with contemporary artists worldwide, offering a modern interpretation of the founder's original vision. He mentions a current collaboration with Christian Astuguevielle as an example of exciting projects. Regarding his design motto, 'eclecticism as a choice,' Frey explains his practical approach to styling a room. He suggests starting with curtains and rugs, then adding art, furniture, and crucially, lighting, emphasizing its profound impact on a room's atmosphere. He advocates for a 'mix and match' strategy, combining elements like Art Deco pieces with flea-market finds or auction items with vintage family heirlooms, believing that such combinations create more interesting and lived-in spaces. He advises against excessive perfection, stating that imperfections can add character and prevent a room from feeling uninteresting. Frey also shares his favorite items from the Christie's sale, including classic cutlery, a flamingo model, an antique rug, and marble busts, discussing how these diverse pieces would integrate into his own modern décor. #PierreFrey #InteriorDesign #HomeDecor #FabricDesign #Wallpaper #EclecticStyle #FrenchDesign #ChristiesAuction #ArtAndDesign

The FOG Design + Art fair, held annually in late January at Fort Mason Center in San Francisco, showcased its 11th edition with a diverse array of contemporary art and design objects. This event, known for bridging the local San Francisco Bay Area community with international talent, featured 59 exhibitors from global cities like Paris, Hong Kong, and South Africa, alongside those from San Francisco, Los Angeles, and New York. The fair, which spanned two piers, allowed attendees to explore a wide range of artistic expressions and innovative designs. FOG FOCUS, an extended section on a neighboring pier, highlighted emerging designers and galleries. New York’s Superhouse presented an installation by Belgian-Congolese designer Kim Mupangilaï, whose three-piece seating set drew inspiration from the cross-cultural connections between Art Nouveau and the Congo. Accompanying Mupangilaï’s furniture was a fiber artwork by Maris Van Vlack, reminiscent of stained-glass windows, characterized by its unraveling and transparent qualities. Municipal Bonds, one of San Francisco’s representatives at FOG FOCUS, featured a solo exhibition by Oakland artist and designer Yvonne Mouser. Mouser’s work explored the intersection of function and artistic expression through wall-hangings and furniture pieces. Her designs often balanced delicacy with sturdiness, incorporating solid forms with moments of fragility, as seen in her Janus Spiritus cabinet with its sumi ink-painted oak flaps. From OCHI, a gallery with outposts in Los Angeles and Ketchum, Idaho, artist Sam Shoemaker captivated visitors with fungi-inspired ceramic sculptures. A mycologist himself, Shoemaker's works were derived from actual mushrooms he cultivated in his studio, featuring organic outgrowths that evoked natural formations like sea anemones. The FOG MRKT, a new addition to the fair, offered artisan-made products and crafts. Blunk Space, a Bay Area gallery influenced by craft legend JB Blunk, stood out with pieces by Mexico City artist Alana Burns. Burns showcased shell-inspired jewelry and tableware, emphasizing whimsical designs that often began with shells. London’s Sarah Myerscough Gallery presented an exhibition titled "Raw Edges," focusing on wood in its various forms, textures, and colors. The gallery showcased works by international designers including Nic Webb, Eleanor Lakelin, and Julian Watts, exploring wood’s potential as a sustainable material and celebrating its inherent beauty. Galerie Maria Wettergren, a Paris-based gallery established 15 years ago to champion contemporary Scandinavian artists, made its West Coast debut. The exhibit featured colorful works that blurred the lines between art and design, such as a digitally-composed woven wall hanging by Danish textile artist Grethe Sørensen and an ombre mirrored bench by Boris Berlin and Germans Ermics. AGO Projects, a Mexico City studio, created an inviting and vibrant booth displaying furniture, textiles, lamps, and mirrors, primarily by Latin American artists. Their presentation included monumental mahogany pieces with wax and bronze inlays by Brazilian furniture maker Rafael Triboli and a full-length mirror by Guatemala’s Agnes Studio, adorned with ceramic figurines. Hostler Burrows featured Danish artist Ane Lykke’s see-through light box, which functioned as a screen with contrasting views through its grid. This gallery, representing an international set of artists, showcased a range of designs that captured attention. Casemore Gallery highlighted local Bay Area artists like Lindsey White, Raymond Saunders, and Sonya Rapoport, alongside Finnish artist Henna Vainio’s ceramic word sculptures, which conveyed profound aphorisms through their 'smooshed' forms. Sean McFarland’s cyanotype "Cloud Book," created without a camera, prompted reflections on photography and representation. Tina Kim Gallery presented textile works by Korean artist Lee ShinJa, dating from the 1960s to the 1990s. Lee ShinJa was among the first artists to introduce textiles into fine art in Korea, and her intricate, abstract wall-hangings, often inspired by her childhood landscapes, were a significant highlight. #FOGDesignArtFair #ContemporaryArt #DesignExhibition #SanFrancisco #EmergingDesigners #TextileArt #FurnitureDesign #CeramicSculpture #WoodArt #InternationalArtists

Draga Obradovic and Aurel K. Basedow, known as Draga & Aurel, are a design duo celebrated for their artistic approach to materials and composition, drawing influences from fashion to traditional craftsmanship. They are pioneers in upcycling, having started their journey by reinventing furniture and objects. An early open studio event, where people brought old furnishings for reinvention, quickly grew into a significant venture, leading them to establish Draga & Aurel in 2007. Their multidisciplinary studio and workshop focus on art, collectible design, and furnishings. Their debut at Milan Design Week two years later initiated collaborations with brands like Baxter, a partnership that continues to influence their design philosophy. According to Basedow, Baxter was instrumental in professionalizing their design approach. A significant milestone in their career was the launch of the Transparency Matters collection in 2019, which marked a departure from their earlier focus on vintage items and textiles. This collection utilizes resin as the primary material, valued for its interaction with light, and is continuously updated. Obradovic draws inspiration from everyday visual stimuli, capturing images to create mood boards that fuel her imagination. For their "Friday Five" feature, Draga & Aurel share five key inspirations. The first is artist Dan Flavin, whose work on light and color deeply resonates with their own. They admire his ability to transform a common object, the neon tube, into sophisticated art with a "maximalist" effect, despite its minimalist origins. They highlight a recent exhibition "Dedications in Lights" at the Kunstmuseum Basel, one of their favorite museums, and note a permanent installation in its yard. Secondly, they express their appreciation for Superduper, a "Made in Italy" brand from Florence known for its handmade hats. They are drawn to the brand's fresh, creative, and informal style, emphasizing that hats are essential accessories for both of them. Their third inspiration is Joseph Beuys, a German artist and sculptor and a significant figure in conceptual art. His quote, "Jeder mensch ein Künstler" (everyone is an artist), profoundly influenced their approach to painting and their belief in the universal expression of creativity. Beuys is also a reference point for expanding the meaning of art. The fourth point of inspiration is The Venice Venice Hotel. They describe Venice as a city that continually surprises them with its beauty. The hotel, housed in the renovated Ca’ da Mosto Palace overlooking the Rialto, is a synthesis of architecture, fashion, art, and design, showcasing influential avant-garde movements. It is an evocative place owned by the founder of Golden Goose. Finally, their fifth inspiration is their hometown, Lake Como. They find constant inspiration in this historic town, appreciating the peace, relaxation, and freedom the lake offers, particularly enjoying sailing and discovering hidden coves and villages. They feel fortunate to live in such a beautiful place. The article also showcases some of Draga & Aurel's works. The "Flare Collection," an exclusive project for Todd Merrill Studio, explores color and light refraction through Lucite, an acrylic resin. This collection is inspired by Jiyong Lee's study of color's three-dimensionality and Vasa Mihich's acrylic sculptures, focusing on the concepts of composition and breakdown of matter. It premiered at Design Miami in 2023. Their exhibition "Per Speculum in Aenigmate," in collaboration with Contemporary Cluster at Palazzo Brancaccio, Rome (2022), highlighted the dialogue between Aurel K. Basedow’s pictorial works and the duo's iconic design pieces. The exhibition title, drawn from a biblical passage, focuses on "mirror" and "enigma," reflecting their practice of material experimentation, artistic creativity, function, and aesthetics. The "Heritage collection" consists of one-of-a-kind upcycled pieces, born from their passion for vintage items. They collect original vintage furniture from thrift shops and markets, then reinvent them using techniques such as screen printing, embroidery, and resin covering, drawing from their backgrounds in fashion, textiles, art, and graphic design. Each item is restored in their Como atelier. Lastly, "The power of lighthearted design – Exhibition “Tinted Hues” at Nilufar, 2024" is a collaboration with Nilufar gallery, featuring a capsule of playful objects. This collection emphasizes resin, rounded shapes, and pastel shades, exemplified by their Bon Bon lamps, Dewdrops coffee tables, and Glaze table. #DragaAurel #DesignStudio #UpcyclingDesign #MilanDesignWeek #TransparencyMatters #DanFlavin #JosephBeuys #LakeComo #CollectibleDesign

A new exhibition titled 'Exhibition in Rennes: Ronan & Erwan Bouroullec' showcases the extensive work of French design duo Ronan and Erwan Bouroullec in their home region of Brittany for the first time. The exhibition is split across three venues: Les Champs Libres, the Frac Bretange contemporary art museum, and Le parlement de Bretagne, and is conceptually divided into two main parts. The first part is a 20-year retrospective focusing on the brothers' industrial design projects. This segment features collaborations with prominent design manufacturers such as Alessi, Magis, Kvadrat, Vitra, Artek, and Samsung. Notable inclusions are their furniture and domestic items, alongside an array of archival materials. These materials provide insight into their design process, including development notebooks and scale models, offering a comprehensive look at their evolution in industrial design. One such collaboration highlighted is the 'Serif' TV with Samsung, which received the Wallpaper* award for 'Best Domestic Design'. The second part of the exhibition, titled 'Urban Reveries' and installed at Les Champs Libres, delves into the duo's foray into municipal landscape design. This section presents a collection of dioramic architectural models that envision new public spaces. These models depict unique urban patterns, including rocky outcrops, elevated sculptural streams, and meticulously designed gardens, reflecting what the studio describes as 'a wandering or urban dreaming based on a reflection of the city layout'. The exhibit aims to explore innovative approaches to public urban environments. Further installations include 'Le Kiosque' from 2015, positioned in the parliament courtyard. This modular structure, constructed from powder-coated steel with an oak interior and an overhanging roof, first appeared in Paris' Tuileries. Conceived as a movable tool to integrate art into public spaces, in Rennes, it is paired with 'Palissade', a collection of outdoor furniture developed in collaboration with Hay. The exhibition also features '17 Screens', an abstract display that explores the convergence of 3D printing with traditional production methods. Previously exhibited at the Tel Aviv Museum of Art, this installation showcases futuristic constructions utilizing diverse materials such as glass, ceramic, wood, and aluminium rods. It also incorporates curtains made from cup-like mouldings by ceramics innovator Mutina and patterned textiles. This segment is characterized as an experimental and atmospheric exploration, blurring the lines between design and art. Overall, the exhibition is presented as a carefully curated blend of their established works and new, more experimental directions. It offers an opportunity to re-evaluate the Bouroullecs' classic designs while also providing glimpses into their evolving artistic and design philosophies. The show aims to offer visitors a comprehensive understanding of the duo's influential and multifaceted practice. #BouroullecBrothers #DesignExhibition #IndustrialDesign #UrbanPlanning #ContemporaryArt #FurnitureDesign #ArchitecturalModels #PublicSpaceDesign #3DPrinting #RennesExhibition

The Brac Bookstore + Café in Florence, Italy, a contemporary literary café located near the Piazza della Signoria, underwent a renovation led by the Florence-based architecture and interior design firm DEFERRARI+MODESTI. The 807-square-foot space was transformed into a relaxed environment for contemporary art, vegetarian and vegan cuisine, books, and various events. The renovation aimed to create a fresh, modern respite from the city's bustling square. The space is functionally divided into three distinct areas. The first is a wooden-paneled bookstore and café, providing a classic yet updated ambiance. The second is a more informal section dedicated to hosting events such as art exhibits and literary readings. These two indoor sections are separated by an outdoor courtyard, which serves as a transitional zone and a key feature of the design. Central to the café's design is the 700-square-foot semi-outdoor space. This area was conceived as a calming and creative walkway, ingeniously designed to also mitigate noise for neighboring establishments. This dual purpose was achieved through a striking textile installation comprising over 5,000 colorful fabric strips. These strips, presented in nine distinct hues, are suspended overhead from a modular structure constructed with steel cables, creating a visually impactful vertical alignment within the space. The fabric installation creates an immersive experience for visitors as they navigate the walkway, enveloping them in a dynamic interplay of color and light. The strategic placement of the textile feature ensures its visibility from various points throughout the café, allowing it to become a continuous element of the interior landscape. The vibrant colors of the fabric strips are contrasted with and complemented by the more subdued, neutral tones of off-white and wood surfaces used in other parts of the café, highlighting the textiles as a focal point. DEFERRARI+MODESTI's design successfully integrates aesthetics with functionality, providing a visually stimulating and acoustically considered environment. The use of fabric as a primary design element not only adds warmth and character but also serves a practical purpose in managing the acoustic properties of the semi-outdoor space. The project demonstrates an innovative application of textiles in interior design to enhance both the sensory experience and the practical utility of a commercial space, transforming it into a vibrant cultural hub in the heart of Florence. #FlorenceDesign #CaféInterior #TextileInstallation #ArchitecturalRenovation #ColorAndLight #FabricDesign #DEFERRARIandMODESTI #InteriorArchitecture #AcousticDesign

Fischbacher 1819, a Swiss heritage textile brand, presented "Ancient Memories" at Milan Design Week 2025. This immersive textile exhibition explores the emotional and material depth of fabric, taking a deliberate pause from fast-paced design trends. The project, in its second chapter, is a collaborative effort between designer Marcel Wanders, textile artist Caterina Roppo, and the brand’s creative director Camilla D. Fischbacher. Together, they have developed a series of materials that convey narratives through their aesthetic and tactile qualities. These materials include hemp, jute, and recycled cotton, emphasizing the significance of memory as a design principle. Central to "Ancient Memories" is a deep respect for traditional craft and a deliberate pace in production. The collection prominently features hemp, a historically significant fiber, symbolizing ancient knowledge and offering a counter-narrative to contemporary consumerism. This foundation allows for the creation of new materials imbued with historical textures. Examples include "Animalia Echo," a flat-weave rug made from undyed jute and wool, designed to evoke the appearance of ancient stone engravings. "Puffy Loom" combines soft knots with rough textures, creating a striking contrast in its woven structure. "Animalia Traces" is a tufted piece crafted from silky Tencel, featuring a primal motif that subtly incorporates the initials of its creators. These pieces are intended to be perceived as artifacts, each with its own unique story. Textiles within the collection, such as "Sacred Bark" and "Eco Saga," exemplify a raw and personal aesthetic. These pieces integrate jute warps with recycled cotton wefts, producing textures reminiscent of natural elements like bark and earth, and embodying a sense of memory. "Nature’s Canvas" displays a vintage fade, with its appearance subtly shifting after each cut, highlighting the natural evolution of the material. "Animalia Genealogy" is a jacquard trim depicting imagined animals, suggesting a connection to ancient myths. A key message conveyed through these textiles is the appreciation of imperfection and variation, viewing them not as flaws but as inherent elements that enhance the value and character of each piece. The passage of time is also embraced as a contributing factor in the design process. The Milan Design Week exhibition transformed Fischbacher 1819's showroom into a dynamic archive. Rugs and textiles were curated alongside vintage furniture and works by international designers, creating a cohesive spatial narrative and an emotionally resonant environment. Textile artist Caterina Roppo contributed to the exhibition with her solo presentation, "Everybody has pain somewhere," which delves into the layering of time through material. A video installation by Rashed Qurwash further enriched this multidisciplinary dialogue, adding another layer to the overall experience. The exhibition underscores the importance of considering design as a form of storytelling. Ultimately, "Ancient Memories" is not merely about evoking nostalgia; it advocates for resilience in design. It challenges conventional views on materials, proposing they be considered as legacies rather than fleeting trends. Fischbacher 1819 demonstrates that sustainable design extends beyond minimizing negative impacts; it involves creating with profound meaning and intention. The collection encourages a reflection on enduring qualities in a world often preoccupied with novelty, urging an appreciation for what lasts and holds intrinsic value. Fischbacher 1819, a Swiss textile house with over two centuries of history, continues its legacy of crafting luxury textiles, rugs, and wall coverings for both private and public spaces, guided by a commitment to craftsmanship, creativity, and material excellence. The family-run company, now led by the sixth generation, integrates tradition with contemporary sensibilities. #TextileDesign #SustainableDesign #MilanDesignWeek #Fischbacher1819 #MarcelWanders #CaterinaRoppo #InnovativeMaterials #Craftsmanship #MaterialMemory

French designer Claire Lavabre has created an innovative mirror called "Reflet" that distinguishes itself through its unique activation mechanism. Unlike conventional mirrors, Reflet's reflective properties are fully realized only when positioned over a dark, matte-painted shape on a wall. While a partial reflection is discernible against a white surface, the mirror's true clarity emerges when the ultra-reflective, yet highly transparent, glass overlaps with a dark background. This effect is akin to observing one's reflection in a darkened window at night or from a well-lit room when the exterior is dark, where the contrast enhances visibility. Lavabre's design exploration delves into the interplay between reflective and transparent surfaces, aiming to create new visual perspectives by superimposing images. To facilitate user customization and adaptation to various environments, she proposes a series of six distinct geometric shapes and colors that can be painted on the wall to accompany the mirror. This allows individuals to personalize the mirror to their preferred aesthetic and integrate it seamlessly into different spaces. The Reflet project originated during Lavabre's studies at École Nationale Supérieure de Création Industrielle (ENSCI) in Paris, where she completed her graduation in December of the previous year. The mirror is slated for exhibition at the Design Parade 8 festival, held at Villa Noailles in Hyères, France, from July 5th to 7th, as part of a showcase featuring works by ten emerging designers. This innovative approach to mirror design follows other recent explorations in the field. For instance, New York designer Joe Doucet developed the "Fathom" mirror as a tribute to Hurricane Sandy victims, which creates an illusion of partial submersion for the viewer. Similarly, Canadian studio The Practice of Everyday Design crafted a mirror that presents ghostly reflections through its buffed stainless steel surface, highlighting the diverse creative directions within contemporary mirror design. Lavabre's "Reflet" project contributes to this evolving landscape by challenging traditional perceptions of mirrors and introducing an interactive element that relies on the surrounding environment to unlock its full potential. The system comprises a wood frame, the specialized glass, and the wall paint, allowing for variable shapes and sizes of the geometric backdrop. #ProductDesign #HomewareDesign #MirrorDesign #FrenchDesign #DesignInnovation #InteriorDecor #InteractiveDesign

Cuff Studio, based in Los Angeles, has unveiled its Common Ground collection of furniture and lighting as part of the Virtual Design Festival (VDF) x Sight Unseen collaboration. This collection is featured in Offsite Online, a virtual exhibition curated by Sight Unseen, a digital magazine focused on contemporary design. The Common Ground series includes two tables, a bench, an armchair, and a light, all designed to showcase the studio's distinctive design philosophy that merges angular, architectural forms with playful, feminine elements. The studio's co-founder, Kristi Bender, explains that Cuff Studio consistently integrates curves and edges, formality with casualness, and femininity with a sense of 'testosterone' into their designs. This approach is evident in the Arc bench, chair, and console table, which incorporate the classic architectural arch. For the seating designs, this typically masculine architectural element is softened by luxurious leather or pink velvet upholstery. The Arc console table, while possessing a solid volume, features brass-filled channels that allow light to pass through and hand-chiselled grooves on its exterior, providing an organic counterpoint to its geometric shape. Another piece, the Paddle table, modernizes a traditional material, solid oak. The oak is bleached to achieve a clean white tone, and its thick edges are rounded, giving it a playful, substantial silhouette. The Five Track Surface Light, conversely, utilizes a flexible material—rope—which is meticulously wrapped around a rigid, tubular frame. This light fixture can be installed on walls or ceilings and is available in natural white cotton, as well as a variety of other colors. Wendy Schwartz, the other half of Cuff Studio, emphasizes that the collection aims to demonstrate how contrasting design elements can coexist harmoniously, reflecting a broader message of unity. The studio believes that the creative process can bring people together, particularly in a world marked by political polarization. The Common Ground collection was initially launched in early 2020 at the duo's new studio in Hollywood. This launch was intended not just for press or buyers but as a celebration with fellow makers and artisans, fostering in-person connections within the design community in Los Angeles. This initial gathering highlighted the value of direct interaction and shared passion among creatives. #FurnitureDesign #LightingDesign #CuffStudio #VirtualDesignFestival #SightUnseen #InteriorDesign #ContemporaryDesign #ProductLaunch #DesignPhilosophy