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Supreme Bon Ton’s Meteorite Collection

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.
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Dessuant Bone, Multi-Disciplinary Designers

Product designer Marie Dessuant and graphic designer Philip Bone met in 2010 as fellow residents at Fabrica, the Italian design research center, but their professional paths diverged for a spell afterwards. They both moved to London, but Dessuant took a job as head of design for for the furniture brand Another Country, while Bone went on to work at Wallpaper magazine and Reiss. This spring, the pair finally decided to team up to start the studio Dessuant Bone, now based in Paris, where they tackle projects that span their chosen disciplines — art direction and set design for Reiss, product design for Another Country (by whom Dessuant is still technically employed), and experimental object and furniture design for themselves. Their first official studio project, released last month, was the Bay Collection, which includes a large leaning ceramic vase, a flat vase resembling a cymbal, and a series of colorful silkscreened mirrors inspired by beach flags. Read on to see more of the duo's work and find out what the future holds for their collaboration.
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At Maison et Objet and IMM Cologne 2014

In January, we saw plenty of incredible things, from the Brancusi show at Paul Kasmin Gallery to the Swiss Alps to the movie Her. What we did not see, unfortunately, was a design fair — while many of our friends and colleagues were making the rounds in Paris and Cologne, we were busy with the likes of planning our 2014 New York Design Week event, beginning our site's forthcoming redesign, and talking about how much we loved Her. Lucky for us, though, we're pretty well connected, so we managed to round up a relatively comprehensive group of photos of what we missed. Behold, after the jump, the Sight Unseen armchair guide to the best new releases at Maison et Objet and IMM Cologne 2014, minus the jetlag and the convention center food.
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Pauline Deltour, Product and Furniture Designer

Okay, let's get this out of the way as quickly as possible: Yes, Pauline Deltour spent a few years as a designer in Konstantin Grcic's studio. And yes, Grcic may have made a few strategic phone calls on her behalf, jumpstarting her career once she struck out on her own in 2009. But considering that was four years ago, and the 30-year-old Paris-based talent has since turned out more than a few painfully elegant designs for the likes of Discipline and Kvadrat, we thought it was worth stating for the record that she's become quite the rising star in her own right — not to mention one of design's most promising new female voices. We checked in with Deltour, who describes her practice as aspiring to create "self-evident" objects, to find out what she's been up to lately.
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David des Moutis, Furniture Designer

Like many of his peers, 29-year-old Parisian David des Moutis is obsessed with finding new possibilities for traditional handicrafts, and if he could, he'd probably spend all of his time geeking out in workshops watching glass being blown, stone being carved, or metal being spun. One of his pieces — an eyeball-shaped bentwood stool he showed at IMM Cologne in 2010 — even came about after he discovered an old manual wood press in the back of a local shop that its own employees didn't even know how to operate. One could say he's the ultimate tinkerer; even when he's not the one fabricating his own designs, he can't help but leap in and try to learn the ropes. Check out some of the results here.
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Nicolas Trembley’s Fat Lava vases in Apartamento 07

If I hadn't taken as long as I did to read issue number 07 of Apartamento, which came out around this time last year, I would never have gone stumbling around the web only to realize that Nicolas Trembley's wonderful Sgrafo vs Fat Lava exhibition — which started in Geneva last year, making stops along the way at Galerie Kreo in Paris and Gisela Capitain in Cologne — will end its world tour this June in my own backyard, at the Zachary Currie gallery in New York. In this excerpt from Apartamento, the Parisian art critic and curator explains how his collection of more than 150 instances of the bizarre German ceramics came to be.
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In the main room of the couple's tiny new one-bedroom apartment is a table Tuazon made for Perret for her birthday.

Oscar Tuazon, artist, and Dorothée Perret, editor

Like most good photographers, Daniel Trese is a chronic wanderer. Troll the internet for instances of his work for magazines like Pin-Up and Butt, and you’ll find visual essays — often accompanied by musings he wrote himself — that seem like off-the-cuff missives from the road. “Oh hi, I was just traveling from Paris to the Italian countryside and I managed to shoot these beautiful images for you,” is what a typical contribution from the Los Angeles–based photog seems to say. So we were pleased earlier this winter when Trese wrote to us with pictures he’d taken during a recent visit to the new Paris home of his friends, the art-world power couple Dorothée Perret — formerly of Purple and current editor of Paris, LA — and Oscar Tuazon, a onetime Seattleite who makes sculptural art in raw concrete and wood, and who’s about to become known as one of the stars of this year’s upcoming Whitney Biennial. The couple and their two girls had recently relocated after a fire burned down their Montmartre duplex, and Tuazon had built bits of the new house from pieces of the old. Trese, who was in Paris during Fashion Week shooting bloggers Tavi Gevinson and Diane Pernet for a Dutch magazine called Girls Like Us, shot both houses and sent us notes he'd jotted down from his day with the family.
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Sam Baron’s Personal Collections

As a child growing up in the Jura mountains on a small farm on the border between France and Switzerland, the first thing designer Sam Baron remembers collecting were the stickers you scrape from the skins of fruits, heralding their arrival from someplace exotic — tomatoes from Mexico, say, or bananas from Guadeloupe. “For me, it was like a small souvenir from a trip I had never taken, an invitation to think about someplace else and another way of life,” Baron told me from his studio in Lisbon earlier this fall. Of course these days, the designer needn’t only imagine what life is like in faraway places: As head of the design department at Fabrica and a designer for outfits like Ligne Roset, Secondome Gallery, and Bosa Ceramics, Baron’s work has him constantly jetting from Paris to Milan to Treviso, where Fabrica is based; to Venice, where his glassworks are blown; and back to Lisbon, where he recently opened an office with Fabrica alums Gonçalo Campos and Catarina Carreiras, and where he lives with his wife.
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The Bouroullec Brothers in Disegno #1

Designers around the world owe Johanna Agerman Ross a drink, or perhaps even a hug: Her new project, the biannual magazine Disegno, is devoted to letting their work breathe. “I always found it frustrating working for a monthly, because I couldn’t give a subject enough time or space to make it worthwhile,” says the former Icon editor. “For a project that took 10 or 15 years to make, it felt bizarre to represent it in one image, or four pages.” Founded by her and produced with the help of creative director Daren Ellis, Disegno takes some of the visual tropes of fashion magazines — long pictorial features, single-photo spreads, conceptual photography — and marries them with the format of a textbook* and the investigative-reporting ambitions of The New Yorker. The story about Ronan and Erwan Bouroullec which we’ve excerpted here, for example, fills 22 pages of the new issue and runs to nearly 3,000 words; it’s accompanied by images captured over two full days the photographer spent with the brothers, one in their studio and one at the Centre Pompidou-Metz, where they were installing their latest retrospective, “Bivouac.” And articles on Martin Szekely, Azzedine Alaïa, and Issey Miyake’s Yoshiyuki Miyamae are set either over lunch, or in the subject’s living room. The focus, says Agerman Ross, is on proper storytelling. “The people behind the project, the process of making something, even the process of the writer finding out about the story — that’s all part of it,” she says. “It’s the new journalism.” Obviously, we couldn’t agree more.
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David Lynch’s workshop in The Chronicle #2

It wouldn’t be totally wrongheaded to view The Chronicle — a new biannual publication produced by the cultish Copenhagen ready-to-wear brand Rützou — as a fashion designer’s mood board, come to life. For each issue, the creative team — which consists of Rützou’s designer, founder, and namesake Suzanne; her husband, creative director Peter Bundegaard; and editor-in-chief Frederik Bjerregaard — selects a thematic framework and then collates together visual inspiration to support it. Called “Poetic Realism,” the first issue was abstract and moody, with photographic essays on pattern or urban decay and collages of the magazines’ own diverse inspirations, including Luigi Colani, Matthew Barney, Ernst Haeckel, melancholy, and a Mott Street acupuncturist in New York’s Chinatown. The latest issue, called Sense and Sensibility, more literally serves as a scrapbook for creative inspiration: “Sketches, abstractions in watercolor, visual logbooks, black-and-white imagery, personal portraits, simple doodles, this vast collection is a glimpse into a range of international artists’ creative processes and their final work,” the team writes. By international artists, they mean the likes of Marc Newson, Julie Verhoeven, and David Lynch, who offers a glimpse into his Parisian printmaking lair in the excerpt we’ve reprinted today on Sight Unseen.
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“With my carafes, I was also referencing normal plastic containers, but finding a way to elevate them into a piece of art.”

Victoria Wilmotte, Furniture Designer

As the youngest child of a Parisian architect — with three older brothers working in the same field — Victoria Wilmotte had one thing going for her when she started studying furniture design at London's RCA four years ago. But she also had a few handicaps: she was only 20 years old, she had just been rejected from Paris's ENSCI school, and her professor at RCA, Jurgen Bey, couldn't comprehend her strange working methods. Obsessed with materials and surfaces, she wanted to spend all her time in the workshop, skipping the thinking and brainstorming part and going directly to prototyping. "Jurgen Bey was really into concepts," says Wilmotte, now 24. "He was more about a table telling stories, but I only wanted to talk technically. He basically said, 'I don’t understand you. But continue.'"
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032c Interviews Rick Owens

Sighted on 032c's website: Carson Chan interviews the American fashion designer Rick Owens about his work and his interest in architecture and interior design. Regarding the latter, Owens replies: "I’m very much a dilettante. I’m not a connoisseur, and I don’t have the memory for all the names and dates. People ask if it’s different to design furniture than clothing, and the answer for me is no. Doesn’t every designer want to design their entire environment, and apply their aesthetic to everything around them?"
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