Marcin Rusak’s Inflorescence and Other Artefacts

It may seem daring to open an exhibition on the eve of the annual design carnival that is graduate show season in London but Marcin Rusak doesn't have to worry about a lack of attention. It was a big year for the London-based designer, who kicked off his artistic career with exhibiting at the Victoria and Albert museum and securing the coveted Perrier-Jouët Arts Salon Prize for emerging talent within just a year of graduating from the RCA last year. His first solo show, "Inflorescence and Other Artefacts," is a display of dichotomies, constantly flipping between natural and synthetic, authentic and fake, beautiful and seductively grotesque, forcing viewers to form their own opinion about the value of the objects on display.
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Melbourne Creative Agency Wildhen Design

We've said it before — Australia often feels like a strange parallel universe to us. We know it's bursting with amazing design talent, but it all feels so far away, and it's not easy for us to assess what the new hot restaurant or hotel or creative agency may be at any given time. For those of us who pride ourselves on being up on the cultural landscape of the Western hemisphere, it's a weird feeling, but in a way, it's also a nice one: We didn't have to think too hard when the Melbourne firm Wildhen sent us their portfolio recently, we just poked through it and objectively liked what we saw, from packaging for a boutique pharmacy to still life shoots for an online nursery.
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Portuguese Designer Célia Esteves of GUR Rugs

While Portugal is probably best known, these days, for manufacturing clothing and shoes for big brands like COS, Zara, and Camper — or if you're a product designer, for supplying 50% of the world's cork — Porto-based designer and printmaker Célia Esteves homed in on its longtime flat-weave rug-making tradition when she founded GUR two years ago. After meeting a weaver in her hometown of Viana de Castelo, who for 15 years had been handcrafting the style of rug that she'd seen on "every Portuguese kitchen floor" since she was a child, Esteves decided to hire the weaver to use the same technique to produce colorful limited-edition designs commissioned from illustrators she knew and admired, like Atelier Bingo and Ferreol Babin. We recently interviewed Esteves about the project, which has collabs with Après Ski and Reality Studio on the way; scroll down to read more about how she transformed a local craft into a contemporary design brand.
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The Top 5 Designers at RCA’s 2015 Graduate Show

It’s graduate show season in London, and though we’ll be featuring students from all over town in the coming weeks, we’ve found over the years that no show is quite as spectacular — or up our alley — as the Royal College of Art’s. With its esteemed alumni including the likes of Barbara Hepworth, Thomas Heatherwick, Tracey Emin, and David Hockney — not to mention some of our favorite contemporary designers, such as Max Lamb, Hunting & Narud, Soft Baroque, Fredrik Paulsen, and Hilda Hellström — Show RCA always boasts an impressive arsenal of postgraduate talent across a variety of disciplines.
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Q+Q’s 2015 Collection, Shot by Amanda Ringstad

When we first invited one of our favorite prop stylists, Seattle's Amanda Ringstad, to create a shoot around Q+Q's line of waterproof, solar-powered watches last year, she attempted to abstract the simple, color-blocked designs into ambiguous shapes and arrangements. For its 2015 collection, however, the Japanese brand — who partnered with us for a second time at this year's Sight Unseen OFFSITE — went wild with pattern, so we thought it would be especially compelling to return to Ringstad once again and see how that might change her aesthetic approach. The result is a series of playful, summery images shot inside a big bucket of water that imagine the watches as eye-catchingly outfitted, anthropomorphized bathers.
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Nicole Patel on Her Textile Wall Panels

When we first met the multi-talented Nicole and Sweetu Patel back in 2004, they were running Brooklyn's Citizen Citizen, a high-concept British design showroom that sold objects like crucifix-shaped brushes by FredriksonStallard. But they gave up the project shortly afterward, and have continued to evolve creatively in the last decade: Nicole went on to focus on her interior design business and form a creative partnership with curator Josee Lepage, while Sweetu went on to work for Cappellini and later founded the men's heritage clothing shop C.H.C.M. It was there that we recently spotted Nicole's latest brilliant endeavor, a series of wall panels that she makes from the likes of Japanese indigo textiles and Belgian linen, meticulously stretched and then embellished with things like handmade rope or tone-on-tone embroidery. Beyond hanging them in her husband's store, she hadn't yet put them out in the world, so we decided to do the honors.
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Lily Kamper, London Jewelry Designer

Though she studied textiles at London's Royal College of Art, Lily Kamper spent most of her time in the jewelry department experimenting with acrylic, resin, and offcuts of Corian. The lathe became her tool of choice, enabling her to machine pillar-like, geometric forms that could transform those everyday materials into vibrant, beautifully crafted pendants and accessories.
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Week of June 22, 2015

A weekly Saturday recap to share with you our favorite links, discoveries, exhibitions, and more from the past seven days. This week, a bounty of colorful goodies to go along with America's end-of-week joy hangover: euphoria–inducing interiors, retro-futuristic group shows, and lots and lots of colorful Op-Art — plus a deconstructed jungle gym (above)!
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L.A.’s Newest Design Brand, TOOOLS

Back in 2012, we wrote about the launch of a gallery called Beginnings in Brooklyn, which, a year later, met an untimely and unfortunate end. But two of the gallery's founders have since gone on to forge a new (ahem) beginning, this time giving it a far less superstitious name: TOOOLS, a Los Angeles–based object-design company recently started by artist Caroline Hwang and designer Joel Speaskmaker that aims to be "a new company with an old ethos: form & function." See what the duo have to say about the project, and see tons of images, after the jump.
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Top 5: Transparent Jewelry

A periodic nod to object typologies both obscure and ubiquitous, featuring five of our favorite recent examples. Today, the subject is transparent jewelry, which has evolved beyond its '60s pop connotations to encompass designs both subtle and edgy.
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Justin Hunt Sloane, Artist

It can be hard to pin down exactly what it is Brooklyn-based artist and designer Justin Hunt Sloane actually does. He graduated with a BFA in printmaking and interactive design from Art Center, but while there, he became interested in the school's famed automotive program and began dabbling in classes like rapid prototyping and fabrication technology. Since moving to New York, he's held day jobs as a website designer for Creative Time, or, currently, senior designer at the branding agency Wolff Olins, but in his freelance work and spare time, he makes everything from drawings to etchings to self-published books to album covers to sculptures.
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Nina Cho, Furniture Designer

“One of the most important ideas in traditional Korean architecture and art is the aesthetic of emptiness — practicing the beauty of the void,” Nina Cho explains to me over the phone from her studio in Detroit, where she recently set up camp after graduating from Cranbrook. “In painting, the unpainted portion is as important as the portion that was painted; it’s about respecting the emptiness as much as the object.” Cho should know; she was born in the States but grew up in Seoul, and as a child she would often visit traditional Korean architecture sites. But little did she know the impact those visits would have on her future career.
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Slowly by Sam Moyer at Galerie Rodolphe Jansen

While the Chicago-born, Brooklyn-based artist Sam Moyer has played around with fabric painted to look like marble in the past, the geometric panels suspended in gorgeous bronze armatures that she recently installed at Galerie Rodolphe Janssen in Brussels are, in fact, the real deal. Meant to interact with the space's striking ceilings and the summer light that filters through them, the slabs are cut so thin as to be almost semi-translucent, a subverting of expectations about the way certain materials are supposed to look, feel, and function — a common theme in Moyer's work, and one that will sound familiar to many designers, which is probably why we've found ourselves so drawn to her.
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