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Colored Resin Meets Onyx in a Series of Textured Lamps Inspired by Mexico

In Elements, a colorful collection of imaginative light fixtures by Belgian-based architect Adrian Cruz, crystal resin light bulbs float, seemingly suspended, between resin plates, or balance atop slender pillars; some introduce raw materials like marble and onyx. “For me, the juxtaposition of onyx and resin [explores] the contrast between precious nature and modern man’s creations,” says Cruz.
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At Europe’s Newest Design Fair, We’re Presenting New Work by Chen and Kai and Mimi Jung

This winter, we're building on a very exciting trajectory that began with our presence at two Collective Design Fairs in New York, and continued when we presented the work of 13 American studios at the London Design Fair this past fall. From March 8 to 11, Sight Unseen will have a booth at the brand-new Collectible design fair, in Brussels, where we'll showcase new lighting by Chen Chen and Kai Williams and new woven works by Mimi Jung.
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Pieterjan Mattan Tribeca home tour with Hem

Disco Balls and Trampolines — A Creative Director At Home in His Epically Fun Tribeca Loft

When PieterJan Mattan moved to New York from Belgium in 2012, he arrived without a single piece of furniture. But the 28-year-old creative director, graphic designer, and digital nomad did have plenty of connections, and by the end of that year, a friend renting a loft in Tribeca had announced he was moving. Mattan jumped at the chance to relocate. “I loved this apartment immediately because it was so quintessentially New York,” Mattan says.
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Tomas Alonso at Victor Hunt

This May Be the Coolest Furniture Collection We’ve Ever Seen

The Vaalbeek Project, new suite of furniture by one of our longtime favorite designers, Tomás Alonso, for the Belgian gallery Victor Hunt, is a teaser for an interior Alonso is working on in Belgium, to be completed next spring. It includes new editions of some older designs — such as that insanely chic, stackable rose and green marble coffee table from 2014 — but each piece feels like an instant classic.
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At the Biennale Interieur Kortrijk 2016

Situated less than two hours by train from both London and Paris — but without the steep costs of either — Belgium is an ideal place to do business, which is probably why the Kortrijk furniture fair has been going strong for 25 years as of this week. Other good reasons: Maniera, Muller Van Severen, Sylvain Willenz, and all the other local creative powerhouses who pitch in to make it interesting.
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A New Book Features the Botanical Decor of Your Dreams

File this one under "why didn't we think of it first?" This fall, Magali Elali and Bart Kiggen of the Belgian online magazine Coffeeklatch — a destination for lovely interviews and photography that's been on our must-read list for years — released a book called Greenterior, which looks at the homes of designers and artists through the lens of their abundant houseplants.
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Still Lifes by Belgian Photographer Frederik Vercruysse

Still life photography is having a big week on Sight Unseen — yesterday we featured a pair of stylists who built their reputation on it and are now moving into interiors, and today we're highlighting a photographer who approaches shooting interiors just as though they were still lifes. Belgian-born talent Frederik Vercruysse, in fact, describes his entire body of work as "still life photography in the broadest sense of the word," according to his website, applying the approach not just to interiors but to portraits, fashion shows, and the occasional landscape as well (for clients like Wallpaper magazine, Sophie Buhai, and Muller Van Severen). But then, of course, there are his actual still lifes, which we've decided to focus on here. Shot mostly for magazines, they represent the purest form of his aim "to photograph the subject in its purest form."
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Week of October 13, 2014

A weekly Saturday recap to share with you our favorite links, discoveries, exhibitions, and more from the past seven days. This week: a brilliant Belgian design fair, a predominantly Pomo Chicago auction, and beautiful domestic interiors from Berlin to Brooklyn.
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Andy Rementer’s People Blocks

One of the only things that bummed us out about doing a printed edition last year was that it was, in the end, an edition — only 400 of you (give or take a few) ever read the stories housed within its covers. Take Andy Rementer’s Inventory story, for which the Philadelphia-based illustrator styled and photographed his own creative influences, which ran from vintage lettering manuals to Italo comics. It was one of our favorite stories we’ve ever published. But the good thing about creative people is that they tend to keep creating awesomely publishable things, so today we bring you Rementer’s latest: interchangeable “People Blocks,” created in collaboration with the Belgium-based object editors Case Studyo.
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A rack full of Dries van Noten clothing waiting to be registered into MoMu’s digital cataloging system, which keeps track of the nearly 5,000 contemporary and 20,000 historical pieces in the museum’s collection. MoMu was originally based on the contents of a former textile museum in Vrieselhof, Belgium; when Antwerp inherited those items, it decided to parlay them into a fashion museum in 2001. “We retained everything from the old textile museum,” says Wim Mertens, a curator at the museum who specializes in historical dress. “We have floral tapestries which have nothing to do with a fashion museum, but it's an inheritance, and also napkins, tablecloths, bedspreads — you name it in textiles, and we have it.”

Antwerp’s Mode Museum

If Antwerp’s Mode Museum (MoMu) is desperately seeking a second storage space for its growing permanent collection, at least part of the blame falls on Bernard Willhelm. He may donate his designs each season alongside the likes of Dries van Noten, Martin Margiela, and his onetime mentor Walter van Beirendonck, but inside the museum’s existing archive rooms — which Sight Unseen had the exclusive privilege of touring earlier this year — it’s Willhelm who clearly holds the record for overflowing racks. In fact, MoMu’s curation team rarely turns down a donation from a legitimate source, whether for the historical collection it originally inherited from an old provincial textile museum or for its cache of contemporary fashions by talents born or educated in Antwerp, but Willhelm’s contributions are so generous that the day we visited, there were clothes waiting to be graciously returned to his showroom. It’s not difficult to understand the designer’s enthusiasm, though, or that of his peers: The MoMu’s prestige in Europe far exceeds its diminutive size, and since it opened a decade ago, it’s become the largest repository in the world for contemporary Belgian fashion.
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The Making of Tom Price’s Meltdown Chairs on Tales of the Hunt

Sighted on the new design-art documentary website Tales of the Hunt, a video chronicling the making of Tom Price's Meltdown Series, for which the London talent employs inventive heating methods to transform commonplace objects like PVC pipes, polypropylene rope, and even polyester clothing into dramatic chairs and tables. The site itself is the creation of the precocious young Belgian design-art dealer Victor Hunt, whose interests lie particularly in objects that are created by hand using highly experimental processes; his collection contains not only finished products but prototypes, failures, and abandoned one-offs that further highlight those processes. It was only natural that Hunt would launch a video series dedicated to showing his clients and the design-art world at large the stories behind the works he supports, and likewise that Sight Unseen would want to become a partner in the endeavor. From time to time we'll share with you new videos posted on the site, starting with Price's. Watch it after the jump, then head to Tales from the Hunt to view the other offerings so far, including a behind-the-scenes look at how Maarten de Ceulaer's Balloon Bowls are created.
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The jewelry’s intricacy stems from Tanudiredja’s aesthetic preoccupation with volume: “I don’t like just normal flat designs — I like the three-dimensional,” he says. “I look at what materials would go nicely together, and how we can build it up so it’s standing. That’s the way I work: I usually look at the material first. It’s the same with clothing. I look at the fabric first.”

Heaven Tanudiredja, Jewelry Designer

Heaven Tanudiredja didn’t have a chance to tidy up the day I visited his Antwerp studio in early February, leaving his desk a maelstrom of beads, tools, and findings, punctuated by the odd Marlboro package. “Cigarettes and Red Bull — this is the real me,” he joked, apologizing for the mess. But to the uninitiated visitor, of course, it was a fascinating sight, a glimpse at the primordial soup that would soon be transformed into Tanudiredja’s ever-more-elaborate fall jewelry collection, which he’ll show this week in Paris. Because everything is made by hand in the studio, his desk is actually a production hub; with his line Heaven now in its ninth season, and his elaborate bead-encrusted necklaces selling for $5,000 at the likes of Barneys New York, Tanudiredja and his three-person team are responsible for churning out upwards of 300 pieces every six months, each of which takes 48 hours of exacting beadwork to construct. Hence the stimulants — not to mention the thick-rimmed glasses he has to wear while working as a consequence of his failing eyesight.
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