Posts tagged as 'Established & Sons'
Standard suspended light by Sylvain Willenz for Menu
His raft of enviable collaborations with the likes of Cappellini and Established & Sons, and, more recently, Retegui, Menu and Objekten, are testimony to the fact that Brussels-based designer Sylvain Willenz creates Things That People Actually Want. (by Simon Keane-Cowell)
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'Dame' pendant light by Luca Nichetto for Established&Sons; photo © Peter Guenzel
With his latest design, the award-winning Italian designer Luca Nichetto, whom we had the pleasure of meeting during our trip to Foscarini’s HQ, revisits his native Venice and the centuries-old glassmaking traditions of Murano island. Inspired by the said ‘traditional glass lanterns made on the island of Murano,’ the new, dramatic pendant light is manufactured by the British company Established&Sons and it is Nichetto’s second product for the London-based brand.
'Meteor Ottoman' by Klaus Haapaniemi and Mia Wallenius for Established & Sons
Klaus Haapaniemi, the celebrated Finnish artist and designer, author of the playful folkloric print for the famous ‘Taika’ dinnerware series, has created this collection of whimsically printed accessories in collaboration with Mia Wallenius for the British label Established & Sons. (more…)
The Bouroullec Brothers' new now-you-see-it-now-you-don't 'Folio' storage unit for British label Established & Sons
Ciao a tutti. It’s the eve of the Milan Salone del Mobile and your faithful Architonic team is already in town, sporting a fine line in (comfortable) sneakers, checking out what this year’s Fuori Salone has to offer.
We were at the Versace Theatre this afternoon, taking at look at British label Established & Sons new 2011 collection, and were rather taken by the Bouroullec Brothers’ new ‘Folio’ storage unit, which plays with the ideas of display and concealment, public and private.
'New Order' by Stefan Diez
‘New Order’ – Either Stefan Diez is a big admirer of British New Wave (which would be one more reason to be fond of his taste), or he simply found a fitting name for the new modular and stackable shelving system he designed for the Britsh manufacturer Established & Sons. The basic frame made from owder-coated aluminium can be accessorised with optional elements, including shelving, door compartments, space dividers, trays and castors.
'Print' by Sylvain Willenz Established & Sons
This soft and highly elegant pendant light presented by British manufacturer Established & Sons was developed by the Belgian designer Sylvain Willenz. Against one’s expectations the single bubble of blown glass which includes the shade, the colour, the reflector and the diffuser has been produced throughout one gesture. ‘Print’ is a not only a reinterpreataion but a smart and graceful advancement of the archtypical light globe.
'Lighthouse' by Ronan and Erwan Bouroullec for Established & Sons
The Paris based brothers Ronan and Erwan Bouroullec designed this table lamp for the British manufacturer Established & Sons. Its glass lampshade is manufactured in cooperation with the traditional Italian glassblowers of Venini – a voluminous round glass structure only supported by a delicate aluminium stick and without any contact to the base.
As the metaphoric dust settles following another Milan Salone del Mobile (not to be confused with the ash from that pesky Icelandic volcano, which did its best to keep the great and the good of the international design press stranded in Italy), Architonic brings you a series of engaging interviews with some of the most influential designers working internationally. We’re calling them the Milan Conversations.
'Blow' table by Konstantin Grcic for Established & Sons in collaboration with Venini, 2010
The plethora of design blogs and design journals available to us these days means that you can get a pretty good idea of what’s been launched at any particular design fair without packing that suitcase with comfortable shoes and business cards. The real value of going to somewhere like Milan are the encounters that you have, not with new products but with other people. It’s probably the design industry’s most productive and rewarding way of exchanging information, ideas and enthusiasm. It’s about inspiration.
In this first installment of the Milan Conversations, Architonic talks to Compasso d’Oro-winning, Munich-based Konstantin Grcic about his new collaboration with leading British design brand Established & Sons (whose show, in an indoor pelota court, was monumental in scale) and how he had to learn to let go. We also talk to Sebastian Wrong, founding member and design development director of said brand, about irony, sustainability and the thinking behind the company’s new own-label collection.
(The interview was held by Simon Cowell)
'Crash' chair by Konstantin Grcic for Established & Sons, 2010
Architonic: It seems quite fitting that we’re standing in a pelota court, as the Established & Sons brand seems to express the idea of play. Humour and irony appear to run through it.
Konstantin Grcic: And the idea of competitiveness. That’s what I like about them. They are really showing muscles. They are only six years old and they’re renting a space that’s larger than any of the traditional companies that have been around for decades. There’s something like a sporty ambition that they have, which fits the space as well.
Your work has in the past often shown a strong sense of analysis and rigour, and form is well considered. What was it like working for the first time with a manufacturer whose products are sometimes more playful, more relaxed? Was the process different?
Yes. The only reason for starting a collaboration with a new company is to do something new. The decision to work with Established & Sons was the joy of new territory. Something completely outside my other experiences. Who the company are and what they’ve done over the years forms one pool of information for me. The other one is purely my own: what have I done and where do I see a niche of new territory for myself. Working with textiles, working with soft materials. Exploring a more organic language of things. Comfort in a totally different way than I normally treat comfort. Or discomfort. All of this was important for me as a consideration. I like that. A designer should be considerate in many different ways. Work is not something you just pour out. There’s always context to it. The company you work with is a context. You have your own context. Even the year 2010 is different from what I would have done last year.
continue the interviews @ Architonic