This page contains a Flash digital edition of a book.
120 DECORATIVE & DESIGN / PROFILE


TIM VAN STEENBERGEN design file


Fashion designer turned design polymath turns his attention to the world of luminaires.


Fashion designer Tim Van Steenbergen has long believed in the importance of cross fertilisation between his chosen industry and other creative sectors. In addition to working on his own couture label, he has widened his attentions over the last decade to work with shoe brand Ambiorix, Theo glasses and numerous theatre and opera productions. “I consider myself more and more as a creative lab,” he explains. “The concept of co-branding is maybe a new way of creating a design studio. It is not just about making clothes any more, I like the ‘Gesamtkunstwerk’ approach and want to expand my company and talent in a wider context.” To his list of credits can now be added lighting designer, thanks to a recent col-


laboration with fellow Belgians Delta Light. The luminaire manufacturer was looking to expand its appeal, exploring new design avenues and reach new audiences. After initial meetings it became clear there was a lot of common creative ground. “Thanks to my shows and my theatre work I understand the importance of lighting. Light can make or break something,” says Van Steenbergen. “Delta Light shares my vision. Their work is about timeless design and top- quality craftsmanship. That’s why we could easily work together and create a lighting object with an added value.” Van Steenbergen wanted to do more than create a lighting object. He wanted to go back to the product, the essence, the val- ues, the content. He embarked on a quest


for beauty and aesthetic that also charac- terizes his other creations. The result had to be pure and to-the-point. An ambiance of light, in the form of a modern object. What started as the revamp of the Husk model became a totally new creation – dubbed Metronome. Van Steenbergen started working on the original lighting object by covering it with fabric and cut it. Soon an entirely new structure had formed, one that references his fashion work. “In my summer collection I developed a print based on the shadow play of a Metro- nome,” he says. “Everything has its influ- ences, that’s my way of working. It is nice to pull things apart and then bring together again in another context.” www.timvansteenbergen.com


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92  |  Page 93  |  Page 94  |  Page 95  |  Page 96  |  Page 97  |  Page 98  |  Page 99  |  Page 100  |  Page 101  |  Page 102  |  Page 103  |  Page 104  |  Page 105  |  Page 106  |  Page 107  |  Page 108  |  Page 109  |  Page 110  |  Page 111  |  Page 112  |  Page 113  |  Page 114  |  Page 115  |  Page 116  |  Page 117  |  Page 118  |  Page 119  |  Page 120  |  Page 121  |  Page 122  |  Page 123  |  Page 124  |  Page 125  |  Page 126  |  Page 127  |  Page 128  |  Page 129  |  Page 130  |  Page 131  |  Page 132  |  Page 133  |  Page 134  |  Page 135  |  Page 136  |  Page 137  |  Page 138  |  Page 139  |  Page 140  |  Page 141  |  Page 142  |  Page 143  |  Page 144  |  Page 145  |  Page 146  |  Page 147  |  Page 148  |  Page 149  |  Page 150  |  Page 151  |  Page 152  |  Page 153  |  Page 154  |  Page 155  |  Page 156  |  Page 157  |  Page 158  |  Page 159  |  Page 160  |  Page 161  |  Page 162  |  Page 163  |  Page 164  |  Page 165  |  Page 166  |  Page 167  |  Page 168  |  Page 169  |  Page 170  |  Page 171  |  Page 172  |  Page 173  |  Page 174  |  Page 175  |  Page 176  |  Page 177  |  Page 178  |  Page 179  |  Page 180