Toogood’s projects usually begin with a theme she’s been stuck on for weeks. For The Hatch, an interactive installation at last fall's London Design Festival, she says: "I had been on holiday and picked up a book on Memphis. Somehow the Memphis group suddenly made sense to me in a way it hadn’t in the past — the humor, the simple geometric shapes, the colors, the fact that everything wasn’t black and slick and serious. It seemed like a reaction against everything that had come before, and in that way felt relevant. The funny thing about The Hatch is that all these creative people, architects and designers, were coming in and getting stuck, like, ‘Oh no, I have to make it myself?’ It was a joy watching them liberate themselves inside what was essentially a play den.”

Faye Toogood, stylist and creative director

Faye Toogood, the London-based interiors stylist and creative consultant, has designed exhibition stands for Tom Dixon, windows for Liberty, displays for Dover Street Market, and sets for Wallpaper. But in all of her career, she’s had only one job interview. At the tender age of 21, having just graduated from Bristol University with degrees in fine art and art history, Toogood was called for an interview with Min Hogg, legendary founding editor of the British design bible The World of Interiors. “I had found out about a stylist job and decided I would go for it, even though I didn’t even know what that meant,” says Toogood. “I went in and it was the strangest thing. She asked me, ‘Can you sew, and can you tie a bow?’ I actually couldn’t sew, so I lied and when I got the job, I had someone do it for me.”
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Corvo, by Noé Duchaufour-Lawrance

During the annual Milan Furniture Fair, booths bubble over with new items, carefully chosen props, and company spokespeople running around trying to sell you on the relevance of it all. Rare is the company that focuses its energies on a single product. But last week, in a quiet courtyard off Via Savona, the American manufacturer Bernhardt Design did just that, introducing its first product by Parisian designer Noé Duchaufour-Lawrance: Corvo, a warm, curvaceous wood seat with a complicated beveling system and legs that in the back resolve into shapely architectural T-sections.
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In the new Ventura Lambrate neighborhood of Milan, Niels van Eijk and Miriam van der Lubbe mounted a retrospective of their work from 1998 to 2010, the bulk of which was represented by a pictorial timeline of process shots, sketches, and models.

Process at the Milan Furniture Fair

Tom Dixon, Bram Boo, e15, and Thomas Eyck all showed products in copper at the 2010 Milan Furniture Fair, which closes today. There was also a minor strain of fur-covered chairs — plus one hairy, Cousin-It-style storage unit by the Campana Brothers for Edra — and a tendency toward LED and OLED lighting. But as far as Sight Unseen is concerned, the only trend worth writing home about was the diaristic glimpse into process that so many designers chose to offer this year, supplementing their finished products with sketches, models, and real-time demonstrations.
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Jennifer McCurdy: One of the craftswomen showcased in Alhadeff's 2007 "Three Women" show at The Future Perfect, McCurdy makes wheel-thrown and hand-carved porcelain vessels so intricate, they look like they've been made in a mold or even rapid-prototyped.

David Alhadeff, Owner of The Future Perfect

As design-store owner Dave Alhadeff sees it, there’s a distinction between the kinds of craftspeople he is and isn’t interested in: The latter make objects primarily to show off their manual skills, while the former are motivated by a larger concept, a wish to make tangible some abstract artistic meaning. Carving toothpicks into forest animals? Skills. Carving porcelain into vases so mind-bogglingly intricate they appear to be made by machine? Concept. A subtle difference, but one that helps it seem slightly less absurd to picture Alhadeff — who runs The Future Perfect, one of New York’s most well-respected purveyors of contemporary design — roaming the aisles of a Westchester craft fair, chatting up potters and glassblowers. Concept, he explains, is what builds a bridge between pure craft and design.
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Inspiration behind your Hex Series: “I’ve been obsessed with crystals and polygonal structures since growing crystals in a can with a blue vitriol solution and making hexaflexagons as a child. Although the geometry that was taught at school seemed boring to me.”

Kostya Sasquatch, graphic designer and artist

The 28-year-old graphic designer Kostya Sasquatch makes thick, vector-like graphics on a PC, all cartoon colors and geometric shapes, odd logotypes that create iconographies for systems that seem to exist only in the designer’s mind. (He has a whole series called Donut Control.) They’re the kind of designs that could be from anywhere, but they might not have looked anything like they do if Sasquatch wasn’t from Moscow.
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What inspired your Bonbon lamps? "While working on another lamp, the craftsman made me a lampshade which had bad dimensions. I was looking at that piece thinking how can I use it? I didn't want to throw it away, so I decided to knit some strings over it. Then I made different shapes and knitted over them, and now they're called Bonbons because they remind me of silk bonbons."

Ana Kras, Designer and Photographer

You only need to know a few things about Belgrade to understand where Ana Kraš comes from: It's been invaded countless times throughout history, even by the Nazis, after which it was then ravaged by Tito, Milošević, the Kosovo War, and the associated NATO bombings. When it finally emerged from its troubles in 1999, its government and economy were in shambles; the average salary in Belgrade is still less than 400 euros per month. To have become a designer in this context is exceedingly difficult — Kraš's design school had no workshop, materials, or experienced professors, and almost none of her compatriots can afford to spend money on furniture — and yet you won't find a trace of that struggle in the talented 26-year-old's work. At least not by looking at it.
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Since they began making arrows eight months ago, Cohen and Signorile have made more than 200. Signorile feathers and paints, while Cohen does the threadwork.

Fredericks and Mae, Artists

For a studio that crafts objects evocative of summer-camp bliss, Fredericks & Mae have an awfully dark creation story. For the last eight months, Gabriel Fredericks Cohen and Jolie Mae Signorile have been hard at work fletching, painting, and spinning bright polyester thread around their custom-made arrows, which sell for $95 apiece at boutiques like Maryam Nassir Zadeh and Partners & Spade. But when they met senior year at Oberlin, says Signorile, “Gabe was really into the apocalypse and I was obsessed with nostalgia. When we got into it, we realized they were kind of about the same thing: a fear of the future.”
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Originator: D&C Flour Co. Date of origin: Regular, 1918; instant, 1945. Notes: Early cookery grouped dumplings and puddings together, probably because both were cooked by steaming. Very early use of the word referred to sausages, as in black pudding or white pudding. Puddings range from Yorkshire pudding, to Sussex, to sweet, heavy puddings like Christmas plum pudding, to the lighter dessert puddings of milk, eggs, thickeners, and flavorings that Americans think of as puddings.

America’s Favorites

Andy Beach had quite a few strange, obscure books from his personal collection for sale at the Apartamento pop-up store in Milan last April. But America's Favorites kept us captivated for hours: A 1980 anthology of junk food that treated each item like some kind of museum specimen, listing its package dimensions, date of origin, ingredients, and backstory — from macaroni and cheese to Cheez Doodles. The best part was that there seemed to be not a trace of irony behind the presentation, a fact I confirmed by painstakingly tracking down and then interviewing its authors, Kay and Marshall Lee. They simply wanted to present food as art, and the 75 choices in the book happened to be Americans' most beloved.
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This white-oak sori-dai-kanna compass plane from Japan and cast-iron Kunz 100 pocket plane from Germany look like a score from the FAO Schwarz toy store in Manhattan, but they’re actually razor-sharp tools for delicate woodworking.

A Carpenter’s Tool Box

A glimpse inside the toolbox of Bruce Greenlaw, a carpenter and architectural woodworker in Northern California. He explains: "It never fails that, as I perform my rituals to prepare for carpentry, such as sharpening plane irons and lubing gears, I see tools as something more than merely form following function. If only for a moment, I see art, animated by timeless design, world geography, and memories—every bit as riveting as the architecture and furnishings it helps to create."
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Benjamin Graindorge’s Sketchbook

Benjamin Graindorge really wants to design a fireplace. But here's the problem: When he tries to draw fire, it tends to end up looking like water. You can tell it's fire because it's yellow or orange, he thinks, but once he makes the flames brown or green or black, well, not so much. "When I find a way to represent it with another color, I think then I'll be able to move on to the real object," he muses. Clearly, drawing is an instrumental part of the young Parisian designer's process. In fact, most of his objects don't even start off as ideas, they start as swirls of color and form: "The first stage of my work is only a nebula, without humans or objects."
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Other acquisitions on display: Ettore Sottsass’s condiment set for Alessi, an out-of-production teapot by Richard Sapper, glassware by Deborah Ehrlich, and an ashtray from the Hill Club in Sri Lanka. “It’s a hotel and club meant to look just like an English castle — lots of old guys in white gloves and a men’s-only bar,” says Krum.

A Brooklyn Photographer and His Envy-Inducing Design Collection

“I was so dim,” says Greg Krum. It’s a Sunday afternoon, and Krum, best known around New York as retail director of the wonderfully quirky Shop at Cooper-Hewitt, is puttering around the sun-drenched kitchen of a renovated 1890s townhouse he shares with two roommates in Greenpoint, Brooklyn. He’s trying to recall the origins of his other career: that of a photographer about to mount his first solo show this May at New York’s Jen Bekman gallery. “Growing up, I was always attracted to making art, but I didn’t think I could do it because I couldn’t draw. I was like, ‘Okay. That’s out.’ Then I finally realized it’s not about that. It’s about living a life of ideas.”
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Behind the design team's desks is an inspiration board that serves as an unofficial guide to seasonal trends. Many of their cues are taken directly from the runway — mostly because it's often the kind of thing their clients call and request — but other times it's up to their intuition to know when to bring in a tie-dye print, or retire a Mod one. Art nouveau, for instance, was all over the recent Prada resort line, but the team had trouble selling it nonetheless. ("The client will go, 'I love this personally, but it's not our girl,'" explains one of the Printfresh designers.) So instead they've stuck more to ethnic and tribal prints for summer — trends with a bit more obvious momentum.

Printfresh, Textile Designers

It's easy to imagine the backstory of a Prada print: Miuccia has a concept for the season, and either a high-end Italian fabric vendor or her own design team supplies prints just for her. But consider a patterned polyester work shirt from Kmart, and you'd never guess that a RISD textile-design grad like Amy Voloshin might be behind it, translating those runway looks into something that appeals to mainstream Americans. It's an art unto itself: "I have a list of things I roll through in my head when I design for those clients: Is the print pretty? Is it scary, thorny, or edgy? If it is, it's not going to work."
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