Australia’s Kip & Co creates colorful, spirited and youthful bed linens—and towels, rugs and even beanbags. From cartoon pizza representations to rainbow scribbles, the prints…
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From fashion to photography to furniture, recent years have seen a shift in the creative world’s overarching palette from highly saturated primary colors to a soft range of light corals, sea foams, baby blues, pale yellows and pinks. Some tones lean toward a more shimmery, nacreous vibe that melds well…
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Milan 2014: Dutch studio Bernotat & Co created 3D-printed woven fabric lamps that emulate microscopic organisms to show in the Ventura Lambrate district in Milan this week (+ slideshow).
Anke Bernotat and Jan Jacob Borstlap of Bernotat & Co have created Radiolaria, a collection of 11 lamps made from a 3D-printed polyester textile normally used in technical applications where the material is hidden.
Thanks to the 3D-printed structure, the soft lamps do not require additional reinforcement. “When sewn together, the fabric creates its own character and shape,” Borstlap told Dezeen. “We let the fabric do the design work in a way.”
Influenced by the drawings of German biologist and artist Ernst Haeckel, the project is named Radiolaria after a type of microscopic biological organism that produces intricate mineral skeletons.
The designers created the patterns for the textile based on these organisms, whose skeletons are known for their natural geometric form and symmetry.
In a completely dark room, the lamps glow as the textile has been sown together with a glow in the dark material. “It creates a dreamy kind of atmosphere in your bedroom,” said the studio. “It also acts as a point of reference so you don’t bump into your bed.”
All lamps come with porcelain fittings and a silver-coloured cable and will be show from 8-13 April on via Ventura 6 in the Ventura Lambrate district in Milan.
Product photography is by Rogier Chang. All other photography is by Marleen Sleeuwits.
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Milan 2014: Dutch designer Hella Jongerius is launching her first range of rugs as the newly appointed design director for Dutch firm Danskina (+ movie).
Showing at the Salone Internazionale del Mobile in Milan, the collection includes six designs, four of which are by Jongerius. Her designs are called Bold, Cork&Felt, Duotone and Multitone.
“A rug is a two-dimensional product,” Jongerius said. “There is no construction needed, just an expression of yarn and colour. A Danskina rug has clear colour concepts, the colour and texture on the floor is very important in giving a space a certain atmosphere.”
Each design is created using a different mix of techniques, materials and colours. According to senior designer at Danskina, Edith van Berkel, Duotone took the longest to design. “We worked on this fabric for a longer time. We thought it was interesting to make a nice balance of colours. It was made with a flat woven carpet warp in one colour and weft in the other so that the design appears in squares.”
In contrast, the hand woven Bold design is created by using just one piece of wool yarn that is dyed in two different colours. This makes the two block colours in the rug appear to grip one another.
The Cork&Felt design is the only unwoven design, instead made of assembled strips of cork and felt. The strips appear randomly in the design making each rug unique.
The Multitone rug started out as a colour blanket to see how colours mixed and was not supposed to be in the collection at all. “We thought the colours worked so well that it deserved a place in our collection,” said van Berkel.
The other pieces in the collection are two hand-knotted designs by Dutch designer Karin An Rijlaarsdam.
The rugs will be on show in Pavilion 16, stand D20 at the Salone Internazionale del Mobile, Milan until 13 April.
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Milan 2014: Werner Aisslinger, Martino Gampa and Robert Stadler are among 22 contemporary designers that have interpreted Danish textile brand Kvadrat‘s Divina fabric for a show in Milan this week (+ slideshow).
Known for its wide-ranging palette of colours, Kvadrat‘s felt-like fabric was originally created by Danish painter and graphic artist Finn Sködt in 1984.
“We didn’t choose the name for nothing, we used it because it gave some inspiration as to which colours we could put into the scheme,” said Sködt. “Every colour is divine if you ask me, every colour is nice. It’s only a question of using them right or wrong.”
The designers were invited to create their own one-off piece using the fabric, which comes in 56 colours. “Divina is so intense that it is almost like paint, or something that has been sprayed onto a surface,” said Anders Byriel, CEO of Kvadrat. “You could not have a colour that is more vivid or clearer than this.”
German designer Werner Aisslinger‘s Nesting Hexagons reference Joe Colombo’s 1969 Tube chair, a piece comprising hollow cylinder modules fixed together in different formations, which can be dismantled and used separately like cushions.
Here, Aisslinger uses the hexagon shape as a basis to create a piece designed for lounging, which can then be stored by slotting each hexagon inside of each other. “Our concept came from the idea of a picnic, with a blanket in the grass and pillows around,” said Aisslinger. “The hexagons are ideal for lolling around or relaxing on the ground, both indoors and outdoors.”
Working between art and design, London-based Martino Gamper has created Afternoon Nap, his second project with Divina, which features upholstered solid geometric volumes in various coloured triangulations of the fabric.
“For me, this simple shape, mixed with the complex and colourful fabric, creates a landscape where I could imagine having an afternoon nap,” said Gamper.
Austrian designer Robert Stadler‘s interpretation entitled Pli Bleu and Pli Violet uses two very similar shades of blue, emphasised by the folds in the piece. “My intention was to show the quality of the textile in the most pure and direct way possible,” said Stadler. “The two pleated monochromes catch the ambient light in a subtle way.”
New York designer Lindsey Adelman has created a chandelier comprised of thin brightly coloured strips of the Divina fabric layered on top of one another while London designer Max Lamb has designed a series of oversized smocks.
Richard Hutten’s Layers Cloud chair is made from 545 layers of the textile shaped in clusters of spheres. The fabric also hangs taut from pegs to create the triangular-shaped Divina Hangers by Klemens Schillinger. Francois Dumas’ Knapsack sofa fixes together horizontal lengths upholstered in a range of Divina’s colours.
Other designers to interpret the Divina fabric include Philippe Nigro, Peter Marigold, Bethan Laura Wood, Big-Game, Jerszy Seymour and Anton Alvarez.
The Divina exhibition will take place at Arcade, Via San Gregorio 43 in Milan from 9-13 April.
Photography is by Casper Sejersen.
Here’s some information from Kvadrat:
A special exhibition showcasing 22 contemporary interpretations of Divina by international designers
‘We didn’t choose the name for nothing – we used it because it gave some inspiration as to which colours we could put into the scheme. Every colour is divine, if you ask me – every colour is nice. It’s only a question of using them right or wrong.’ Finn Sködt.
In celebration of Divina, one of its most iconic textiles, Kvadrat has invited 22 international designers to reinterpret the fabric in the context of contemporary design and to create a one-of-a-kind piece. The exhibition will be presented in Milan during the Salone Internazionale del Mobile, 8 – 13 April 2014.
Divina is known for its extraordinary range of colours, first created in 1984 by the Danish painter and graphic artist Finn Sködt and regularly updated by him ever since. It is a full-cloth textile with a smooth, directionless and uniform surface, very similar to the properties of felt.
Divina translates as ‘heavenly,’ or ‘divine,’ and the name has been chosen because of the way colours can be expressed in the material. It is one of the finest products in Kvadrat’s range for showing-off colours in all their glory. The textile comes in three different variations: Divina (56 colours), Divina Melange (25 colours) and Divina MD (27 colours).
Finn Sködt, now 70, still continues his practice from his studio in Denmark; he is most noted for his instinctive understanding of colour. Sködt first worked with Kvadrat in the 1970s on their visual identity, soon after the company was founded, and later designed patterns and colour ranges for textiles such as Divina.
Designers and Curators
Designers selected for the Divina exhibition include Lindsey Adelman, Werner Aisslinger, Anton Alvarez, Big-Game, Duangrit Bunnag, Gonçalo Campos, Jonas’ Design, François Dumas, Martino Gamper, Graphic Thought Facility, Richard Hutten, Silvia Knüppel, Max Lamb, Peter Marigold, Studio Minale-Maeda, Philippe Nigro, Klemens Schillinger, Muller Van Severen, Jerszy Seymour, Robert Stadler, Katharina Wahl and Bethan Laura Wood.
Curators include Njusja de Gier, Richard Hsu, Hans Maier-Aichen, Yves Marbrier and Constance Rubini. Kvadrat celebrates Divina during Salone Internazionale del Mobile, Milan 2014.
‘We are delighted to be celebrating our iconic Divina textile coloured by Finn Sködt, a great friend and collaborator who has lent his painterly eye to Kvadrat since our early days in the 1970s. Over 30 years Divina has continued to be one of our most successful textiles, with a texture that lends itself to an intense and vibrant representation of colour. It is exciting to see the interpretations of this diverse group of contemporary designers and to pay tribute to Divina’s incredible range.’ Anders Byriel, CEO of Kvadrat.
The Divina exhibition follows on from the success of the Hallingdal 65 exhibition in Milan in 2012, inspired by one of the company’s first and most popular textiles, designed in 1965 by Nanna Ditzel. A special book with an essay by Hettie Judah and edited by Henrietta Thompson will accompany the exhibition.
In addition to celebrating Divina a new collection of knitted fabrics by Ronan and Erwan Bouroullec will be launched in Kvadrat’s Milan showroom. The company’s sister brand, Danskina will showcase a new collection of rugs created under its newly appointed Design Director Hella Jongerius; Kinnasand will open a new Milan showroom designed by Pritzker Prize-winning architect Toyo Ito; and the launch of Kvadrat’s new textile collection with Raf Simons (Creative Director, Dior) will be celebrated with the Italian retailer Spotti.
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While Iceland is probably best known for its majestic scenery and interesting culinary traditions, the island nation’s largest cities are marked by the stoic architecture of Guðjón Samúelsson, an imposing designer that stood as Iceland’s state architect from 1920 to 1950. Perhaps most…
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Milan 2014: London design duo Glithero will present a range of textiles that have been woven using organ punch cards in Milan next week (+ slideshow).
Commissioned by the Zuiderzee Museum and the Textiel Museum in the Netherlands, Glithero‘s Woven Song project creates fabric using punch cards that would normally feed music through a mechanical organ.
“The music is on a punch card called an organ music book,” the studio told Dezeen. “A Jacquard loom is also fed information using a punch card so the music code from the organ music book is directly translated onto a punch card compatible with a Jacquard Loom. This new punch card is then used to weave the fabric.”
The book music is made from sheets of perforated thick cardboard lengths, which usually specify the notes to be played on the organ. Air passing through these holes determines the notes generated from the organ pipes.
When the sheets are fed in to the mechanical loom, hooks drop through the holes to change the direction of the threads and create a pattern that is determined by the song.
The studio worked with weaver Wil van den Broek and master organ maker Leon van Leeuwen to produce the fabrics. The hues and type of yarn were chosen by Glithero and the colours reference the craftsmen’s workshops.
Glithero will present the fabrics and a film installation of the weaving process in an exhibition entitled Made to Measure in Milan next week, situated at Via Privata Cletto Arrighi 19 in the Ventura Lambrate design district.
Photography is by Petr Krejčí.
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While her textile designs are currently impressing attendees at Brisbane, Australia’s Seven With Another Retrospective—a biannual art exhibition presented by Powerhouse Arts, where seven teams of two…
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by Emily Bihl Travel is a hugely inspirational force for textile designer Emilie Cacace, and it leads to much more than gorgeous Instagram photos of remarkable locales. Cacace’s brand Andéol utilizes…
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London retailer Heal’s has released its first own-brand collection of textiles in four decades (+ slideshow).
Heal’s has collaborated with both well-known and upcoming designers to create the range of fabric prints exclusive to the brand.
“We wanted to inject fun and excitement into our Heal’s fabric design once again, by working with established as well as emerging designers – in the same way we did in the 1950s and 1960s,” said Heal’s head of fabric and design Pia Benham.
British designer Zandra Rhodes‘ Top Brass 2 is based on a print she first created for the brand in 1963 while studying at the Royal College of Art.
Influenced by the work of British artist David Hockney, the Pop Art-style print has been recreated in pink – the same colour as the designer’s hair.
A repeated jelly and cake motif by the late designer Diana Bloomfield has also been reproduced.
Other designs include Ottilie Stevenson’s pattern based on Art Deco jewellery and Emily Patrick‘s cloud-like print taken from her own abstract painting of the sky.
Paul Vogel used the bright colours in the photography of Miles Aldridge and the illustrations of David McKee as the basis for his stripy designs.
Flora formed the starting point for fabrics by Malika Favre, Cressida Bell, Hvass & Hannibal and Petra Börner.
The designs have been used to create a range of accessories included aprons, cushion covers and notebook sleeves, as well as the prints on trays. The fabrics will be available at Heal’s from 1 March.
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