Glass insulators: “They’re made out of a single material, but they have all these interesting textures. They often have a thread and text cast into them. Plus they’re usually beautiful colors. We looked at a lot of these when we were designing our Bright Side Lights (above),” says Williams. “People have had a really emotional reaction to the lights — they say it reminds them of an old appliance or a blender, or it makes them think of other experiences they’ve had, which I think is the mark of a successful object.”

Rich, Brilliant, Willing, Furniture Designers

If there’s one thing that’s defined a Rich, Brilliant, Willing product since the studio’s three members graduated from RISD in 2007 and banded together to make furniture, it’s the idea of the mash-up. In most of their pieces, seemingly disparate materials and odd colors come together in a sort of joyful schizophrenia — a lamp with differently colored, awkwardly placed dowel legs, a wood-and-metal coat rack with copper, steel, and plastic pegs, and even a candle holder crowded with tapers, birthday candles, and fat, number-shaped votives. But a funny thing happened this spring: The trio released a series of cast-glass pendant lights with the Los Angeles–based design company Artecnica that were notable not only for their pretty, industrial aesthetic but for their adherence to a single, monochromatic material. “It’s unusual for any object to made of a single part these days,” says Theo Richardson, who with Charles Brill and Alex Williams makes up the trio, their surnames forming the basis for the studio’s cheeky name. “Most of the time, things are glued together, screwed together. But for us, this was going from assemblage work to something that’s made of a single piece.”

It’s another sign of maturity for a group who, while there’s nary a thirty-something among them, has been fortunate enough to produce work with four different manufacturers in the past year alone. But don’t expect it’s a signal they’re letting go of the loose-limbered quirkiness that made them famous in the first place. “We’re constantly trying to balance growing a creative business while retaining some of the specialness of what we’ve done so far,” says Williams.

So far, the balance has worked. The trio has pieces in production with Areaware and Roll & Hill in New York, and Innermost and SCP in London, but for the most part, those companies have taken on works that the three initially developed and produced in-house. It’s a process that’s left RBW with a surprising amount of creative control; for them, hooking up with a manufacturer has often come to mean they can expand their product line — a table upturned to become a pendant light, for example, or a floor lamp adapted into a sconce — and not that they are beholden to someone else’s vision.

So even as they’ve begun a ginger courtship with companies from Marset to De La Espada, they’re still tinkering and experimenting in the fifth-floor studio and workshop they share in a Lower East Side building that’s been home to everyone from John Derian to The Talking Heads. They recently invited us over to tell us what they’re working on next and to share with us a few of the inspirations that have informed their work so far.

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