When the Pattern Foundry originally launched several years ago, it was essentially an open-source repository for hundreds of licensed archival patterns that could be purchased by users and applied any way they saw fit. But over the years, the UK-based company — run by Richard Rhys, a Central Saint Martins grad and former print designer for Alexander McQueen — has begun to use those patterns to create its own proprietary product line, primarily consisting of rugs and ceramic, silkscreened tiles. The company recently relaunched its website, which makes it even easier to view to dozens of combinations you can make with, say, the wave-like Tide pattern by Wim Crouwel, taken from a 1960s catalogue cover the Dutch designer created for artist Peter Struycken, or the triangular Duo pattern by graphic designer Karel Martens. The overly intellectual kitchen of your dreams awaits…
Kristina Krogh studied graphic design before setting up her own studio in Copenhagen in 2012, where she spends part of her time on freelance design projects and the rest on her extensive line of limited-edition art prints, notebooks, and notecards, pictured in this post. Her layered geometric compositions feature a mix of contrasting and complementary surface textures taken from everyday materials like marble, ply, wood, cork, and paper. “My inspiration comes from the things that surround me: a beautiful old parquet, a perfect color combination on a building, a stone floor in a church, a bike ride through Copenhagen,” she says.
When fellow London-based design experts Brent Dzekciorius and Marine Hartogs fell in love, moved in together, and got married, their personal and professional lives meshed together in an enviably perfect way. Their stuff, however? Not so much. The pair had found an incredible Camden loft that was part of an enclave of former state-sponsored artists’ studios, each with 15-foot window walls and individual gardens, but it offered only 750 square feet into which they could cram the items they’d both accumulated as longtime design lovers and collectors. Hartogs worked for five years as a design specialist at Phillips before recently being named director of Galerie Kreo’s new London space, while Dzekciorius — known for his support of up-and-coming talents — did time at Johnson Trading Gallery, Moss, and Phillips before launching an architectural surfaces company this April. Needless to say, as moving day approached in the summer of 2012, they both knew something had to give.
Suprême Bon Ton is a Paris-based textile design studio helmed by Ella Perdereau, who founded it last year after traveling around India and Latin America for creative inspiration. Her first collection, Meteorite, is a series of scarves that incorporate patterns and textures from rocks and minerals. Perdereau worked with traditional textile printers in Lyon to produce the scarves, then turned to the up-and-coming photographer Florent Tanet — known for playful pastel still-lives that have been featured in the New Yorker and Wired — to photograph them. Tanet also shot Perdereau’s collection of painted rocks and other reference objects, which are featured in the second half of the post.
“It was running joke as a kid, that all I wanted to wear were cut-offs and T-shirts,” says Ilana Kohn. “My mom would buy them by the pack, and I would cut the sleeves and the neck.” Of course, Kohn is now known as the creator of a rabidly collected, Brooklyn-based, cult-favorite clothing line, so was fashion always the master plan? Sure, she was interested in clothes, she says, but her teenage self would be more than a little surprised at this turn. At 18, she says, she did not want to be a “fashion person,” intending rather to study fine art and spend her life of painting. But after high school — in a move that would appease parents who worried about her making a living — Kohn left her native Virginia for New York City to study illustration at Pratt.
When we first took notice of Los Angeles ceramicist Morgan Peck in 2012, it was because she had suddenly become ubiquitous in the concept-shop scene, with her vessels and abstract mini-sculptures popping up at all of our favorite places (Mociun, Totokaelo, Iko Iko). Now that she’s moved into an entirely new territory — the art world — with the opening of her solo show at LA’s Jancar Jones Gallery last week, we figured it was the perfect time to revisit her work. We asked Peck for her thoughts on her change of scenery, and how her sculptures have made the transition from shelf to plinth. “When Ava and Eric offered me the opportunity to have a show at Jancar Jones last February the first thing I thought was: Are you sure?” she says.
A weekly Saturday recap to share with you our favorite links, discoveries, exhibitions, and more from the past seven days. This week we indulge our inner shopaholics with a new Norwegian emerging-design purveyor, three designer pop-ups in New York and LA, and a mini online shopping guide that includes a little something for the guys, too — chic Op-Art pocket squares.
Today we posted an interview with the up-and-coming Swedish designer Anny Wang, who we found when she posted her BA project to Instagram. But Akin, that slamdunk furniture collection, is only half the story: In school, when Wang was trying to teach herself how to digitally model in 3D, she had trouble with some of the more typical programs and found herself turning to a little-known software called Luxology Modo. “People use it primarily for animation, but I began to play with it and understood I could use it as a canvas to make pictures,” Wang says. We’re presenting the resulting 3D illustrations here today, which look like some sort of mash-up between the Tumblr visual culture of today and the Archizoom movement of the early 80s.