06.17.11

Q+A

With Matylda Krzykowski, Designer and Curator of The Clash Project

By now we're used to furniture designers making art, artists making furniture, and every possible variation along that spectrum. But in 2009, when three of her friends started the Fashion Clash festival in her hometown of Maastricht, the Netherlands, designer and blogger Matylda Krzykowski was convinced her colleagues outside the fashion industry might have something to contribute. She rounded up 10 furniture, textile, and graphic designers and asked them to modify their work for the catwalk — in most cases having no idea what they would come up with until the final "outfit" was delivered to her door. The first year, artist Tanja Ritterbex donned a glittery pink Barbie dress and asked to be rolled down the catwalk while she waved at the audience like Queen Elizabeth. The second year, a designer-artist couple from London created a massive, wearable Tyvek tote bag and requested it be modeled by an old man. And for the 2011 show, presented last weekend, one of the designers encased her model in a mountainous wooden cake, with only her head poking out at the summit — in other words, nothing you wouldn't expect to see at an actual fashion show. We asked Krzykowski to tell us a little bit more about the project and about five selections from this year's collection which are shown here, alongside the participant's usual work.

06.13.11

Up and Coming

ArtEZ’s 2011 Fashion Masters Graduates

Whether they go on to work at Viktor & Rolf and Louis Vuitton or scrape together the crazy amount of money it takes to launch a solo line, nearly all clothing-design talents make their first identifiable mark of genius on the fashion world during end-of-the-year graduation shows. Sure, after a year of monomaniacal focus — at least double what any designer ever gets in the real world — the concepts are usually completely overthunk and overwrought, as student work in every discipline tends to be. But without the constraints of the market or a demanding boss, in some ways there can be no purer expression of creative perspective than when designers send that first exaggeratedly proportioned dress or gender-bending jacket down the runway. With that in mind, Sight Unseen made it a point to be there when Generation 12 of the ArtEZ Fashion Masters program opened the doors to their final presentation last week, during the Arnhem Mode Biennale.

06.10.11

Fair Report

At the 2011 Arnhem Mode Biennale

If you travel all the way from New York to Arnhem just to attend the fashion biennial in this relatively obscure Dutch city, half the size of Pittsburgh, you can expect people to notice. Your waiter will witness your accent — and the fact that you’re not drinking a huge glass of milk with lunch like everyone else — and ask if you came just for the show, and well, did you like it? Your jolly white-haired cab driver will crack a few embarrassing jokes about the Big Apple before waxing poetic about how lovely it is when the festival’s on. And despite Vogue calling the $2.5-million production the “Greatest Fashion Event You’ve Never Heard Of,” it will seem, when you’re there, like Arnhem's gravitational pull has shifted in some small but significant way.

06.06.11

Excerpt: Exhibition

Substitutes at Berlin-Weekly

Peer through the window of the narrow, unassuming storefront space at 160 Linienstrasse in Berlin this week — which, like Maurizio Cattelan's once perpetually shuttered Wrong Gallery, allows for little more than such a glance — and you may feel perplexed at the seemingly disparate objects scattered about its plinths. Toasters, ash trays, broomsticks, plastic spiders: not your typical fare for a gallery like Berlin-Weekly, which normally invites one artist or designer per week to create an elaborate installation piece behind its locked doors for the enjoyment of passersby. During this year's Berlin Design Week, however, owner and curator Stefanie Seidl decided to shift the proposition a bit, partnering with designer Fabian Baumann to ask 40 creatives for two personal objects exploring the theme of "Substitutes"; say, a rolled-up magazine when no fly-swatter is handy, or a spider in lieu of coffee (read on to figure out what we mean by that one). The results will be visible in the Berlin-Weekly space from June 1 to 28, but you can see a portion of its contents in the excerpt below.

05.27.11

Studio Visit

Study O Portable, Product and Jewelry Designers

You can learn a lot about Dutch designer Bernadette Deddens by just looking at her. First there are the shoes, which — depending on the day and the whims of London’s weather — she very well may have made herself. One pair of sandals constructed from $25 worth of pale leather and black cording could be mistaken for Margielas, yet are no less awe-inspiring for the fact that Deddens actually nicked the look from Tommy Hilfiger. After all, who makes their own shoes, anyway? Then there’s her jewelry, which is almost always her design, unless it’s a collaboration with her husband Tetsuo Mukai, with whom she formed Study O Portable two years ago. The jewelry is their way of giving people a form of creative expression that can be carried outside the house and into the wider world, as Deddens so poignantly demonstrates — hence their otherwise peculiar studio name.

05.25.11

Fair Report

At ICFF 2011, via Pin-Up’s Felix Burrichter and Dwell’s Sam Grawe

If you've been paying attention, you know by now that the Sight Unseen team spent nearly all of New York Design Week this year holed up in an abandoned lumber building, manning our very first pop-up shop and attending to all the talents we had on board for the second Noho Design District. Did we experience the rest of the weekend's offerings to their fullest? Not by a longshot. But we couldn't quite move on without offering readers some kind of behind-the-scenes take on the festivities, so we enlisted the help of two friends whose viewpoints we trust entirely and asked them be our eyes and ears: Sam Grawe, the endearingly burly editor-in-chief of Dwell, and Felix Burrichter, founder of Pin-Up magazine and local man-about-town. Grawe offered us a mini-photo album of insider moments he particularly cherished — including the back room at the Javits, pictured above, where "judging the Editors Awards requires collateral and fluids" — while Burrichter made us a list of his top 10 (er, 11) highlights from this year's show, perhaps the next best thing to cloning ourselves. See things their way right here.

05.10.11

Sighted

Matteo Thun on Memphis’s 30-Year History

Sighted on Wallpaper.com, an interview with architect Mattheo Thun marking the 30th anniversary of the Memphis group: the loose collective of Italian designers founded by the late Ettore Sottsass in 1981 and dedicated to shaking the shackles of Modernism. Thun talks to Wallpaper's Emma O'Kelly about what it was really like to be on the front lines of the movement, whose risk-taking objects must have seemed tacky as hell to all but the most die-hard Italian design fans at the time — no more worthy of a museum collection than, say, the opening credits of Saved By the Bell — but whose influence on the history of contemporary design has since become indisputable.

05.02.11

Up and Coming

Brunno Jahara, Product Designer

If you think about it in the context of design, Brazil is a lot like America: A vast, relatively young country with a tiny cadre of contemporary designers struggling both to step out of the long shadow of their mid-century forebears, and to create objects in a near-industrial vacuum. But you won’t hear Brazilian designer Brunno Jahara complaining — having lived in dozens of European countries, worked under Jaime Hayon at Fabrica, and run a freelance business from Amsterdam before moving back to São Paulo a few years ago, he credits his native country as being the catalyst for his newfound success. “In Brazil I have all the freedom I didn’t have in Europe, because there’s a whole historical background over there that holds you to making things in a certain way,” says the 32-year-old.

04.27.11

Excerpt: Exhibition

Achille is Watching Us

There were thousands of exhibitions going on in Milan two weeks ago, when the annual furniture fair took over the city, stuffing its subway cars and panini shops full of hungover design tourists. But in terms of sheer number of designers represented per square foot, one emerged a clear winner: “Achille is Watching Us,” for which the young designer and journalist Matylda Krzykowski and architect Marco Gabriele Lorusso managed to corral no less than 32 marquis names — Nacho Carbonell, Peter Marigold, and Bless among them — into an empty shopfront no larger than the average New Yorker’s bedroom. That’s because the pair, after being offered the space for free by the building’s wealthy and culturally savvy owner, decided not to show any design inside it all. Instead, they asked the talents Krzykowski had befriended through her blog, Mat&Me, to each contribute one small personal belonging and tell the story behind it. “Milan is so commercial — it’s about retailing and selling,” Krzykowski explains. “You get so caught up in looking at what’s new that you get lost in it. This year we decided to turn it around, to look at the things that are really important.”

04.18.11

At Home With

Renny Ramakers, Director of Droog

First-time travelers to Amsterdam — perceptive ones, anyway — need only to spend a day navigating its cobbled streets to notice what makes the experience so singular. The buildings are old and narrow, and many seem perilously cockeyed. With their decorative facades and fanciful gables, they resemble oversized gingerbread houses. And when you walk by them, you witness a sight even more peculiar than all of the above: an unobstructed view straight into the living rooms and kitchens of the people who live inside, who refrain from hanging curtains even at ground level. As a locally based friend explained to me on a recent visit, the Dutch may value privacy just as much as the rest of us, but they also take a certain pride in proving they have nothing to hide. This was the thought running through my mind the day that Renny Ramakers, co-founder and director of the influential Dutch design laboratory Droog, let me wander around inside her home unsupervised, snapping hundreds of voyeuristic photos of her possessions while she worked calmly away at her dining table.

04.15.11

Q+A

Carwan Gallery Launch: Samare

Through today, Sight Unseen is showcasing the work of half a dozen designers and design firms exhibiting together at the Milan Furniture Fair under the umbrella of the soon-to-launch Carwan Gallery in Beirut. Here, Nicolas Bellevance-Lecompte, one quarter of the Montreal and Milan–based design studio Samare and the co-founder of the Carwan gallery itself, tells us about the group's new and strikingly geometric felted-wool rugs, made in collaboration with the Belgian textile designers Antonin Bachet and Linda Topic. The project is the latest addition to Samare's ongoing Pays d’en Haut Legacy series, which investigates and then reinterprets the vernacular forms and decorative motifs of Canada's upper country, home to its logging and fur trades. Since their studio launch in 2008, they've worked with local snowshoe craftsman, weavers, and furriers in an attempt to show the world — and their fellow Canadians — how these longtime traditions and crafts can still prove relevant to contemporary culture. After the Milan fair, the rugs will travel to New York, where they'll be presented by the design store Matter during ICFF.

04.08.11

Q+A

Carwan Gallery Launch: Paul Loebach

Through April 15, Sight Unseen will be showcasing the work of half a dozen designers and design firms exhibiting together at the Milan Furniture Fair under the umbrella of the soon-to-launch Carwan Gallery in Beirut. When we asked Brooklynite Paul Loebach which of the four products he'll bring to the show had the most intriguing backstory, he immediately nominated his Watson table, a sandwich of carbon fiber and wood with double-helix legs that took him two and a half years to develop. Like the rest of Loebach's oeuvre, the table reinterprets historical craftsmanship techniques using cutting-edge technologies, evoking yet another novel property from a material as old and as simple as wood. "I named the table after the guy who discovered DNA," Loebach says. "I felt like a scientist doing this project, so I named it after one."