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a bit of magic to everyday, mundane tasks. A lot of work on show wouldn’t draw much attention at first glance, but revealed surprising functionality once discovered. The broad appeal of this trend can be linked to the revival of analogue. We are once again enchanted by products that offer original and tangible ways of interaction. Martha Schwindlinger, a young German
designer, exhibited her ‘Dressing Table’ as part of the fantastic Wallpaper Handmade exhibition. By rolling the round mirror to one side, a small storage compartment on top of the table is magically revealed, whilst the mirror, balanced in a wooden frame, stays at the same angle. “I wanted to do something with a twist to it, nothing too conventional or too serious, playing a game a little bit,” she explains. Another simple, yet delightful, product was Barber Osgerby’s ‘Tip Ton’ chair for Vitra. Developed for educational environments, the all-plastic chair defines a new kind of dynamic seating, discreetly incorporating a forward-tilt action without any mechanical components.
The benefit of this motion that
straightens the back region is an increased flow of oxygen, which has a positive effect on health and concentration. Manufactured from a single cast, Tip Ton is also practically indestructible and 100 per cent recyclable.
British design powerhouse Established
& Sons also showed some new additions to their ESTD collection, the more affordable accessory line of the brand. The pieces with names like ‘Loaf’, ‘Pour’ and ‘Serve’ are designed to create a delightful moment in your day. Interestingly, the names behind the
creations are never revealed, so one could be buying a piece by Japser Morrison or BarberOsgerby for very little money. This inventive spirit that so many
designers are returning to has also resulted in new product typologies. Daniel Rybakken’s ‘Counterbalance’ lamp is a wall-mounted light with a two-meter reach, offering an infinite amount of adjustments, elegantly blurring the boundaries between task and ambient light. In a time were technological advances
enable everyone to be a designer, it is expertise and true talent that stands out again. Whilst the democratisation of design we talked about at the start can be a very positive thing, it is also becoming apparent that not everyone can create meaningful products for the demands of our modern world. Observation, a thorough understanding of process and craftsmanship, and a connection to the end user are more relevant than ever.
Below left: Dressing Table by Martha Schwindlinger
Below: Barber Osgerby’s ‘Tip Ton’ chair for Vitra
Above left: ‘Pour’ from Established & Sons’ ESTD collection
Above right:
Counterbalance Lamp by Daniel Rybakken
LOOKING FORWARD This year’s show has been a real turning point, with designers taking on a more cultural role. We believe that the social aspects of design will become increasingly important, engaging with and empowering local communities. No longer are designers just producing pieces, instead they are asking people to contribute and become involved with the process. Storytelling will remain relevant, imbuing objects with character and soul. We hope to see more technology companies recognising the need for calm and decluttered environments, where digital functionality will be fluidly embedded. We are also pleased to see that the
previously very male dominated market has started to become more feminine, with more and more talented female designers leaving their mark. And whilst there will always be a place for high profile designers, we feel that what resonates with consumers today is a much more simple and honest approach. designer
Mariel Brown and Karen Rosenkranz are from the Research, Trends and Strategy team at Seymourpowell (
www.seymourpowell.com)
See next month’s Designer for more insight from Milan.
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