Vintage Starck, Burl Wood Veneer, and Collectible Furniture From the Current London Scene Define This Modern Cottage in Rural England

You’re probably most familiar with the work of designer and gallerist Max Radford through his Instagram. Mostly, the account acts as an archive of design research, where he posts projects he comes across in vintage books, as well as the work of the contemporary designers he shows with The Radford Gallery, the roving exhibition platform that pops up in London locales and European design fairs a few times a year. (Radford's most recent show, a dual exhibition by Amelia Stevens and Matthew Verdon, featured stainless-steel furniture from the former and lamps in hemp and translucent fabric from the latter). But behind the scenes, Radford is also an interior designer and architect, and his first project — a contemporary cottage in rural England — ties together all of the threads he’s amassed such a following for online.

01.30.23

Excerpt: Exhibition

In a Philippe Starck Retrospective, The Designer’s Early Work Reads As Both Vintage and Prescient

Before Philippe Starck became a mega-famous household name, producing everything from countertop juicers to opulent hotel lobbies and Bond-villain yachts, the French designer conceived of Postmodern furniture that feels distinctly of its time yet continues to fascinate and compel us. Starck’s work from the late '70s and '80s is now getting its first retrospective at the Ketabi Bourdet gallery in Paris. In a way, it’s the next step in the ongoing re-evaluation of designs from that era and a continuation of the conversation the gallery opened up last year with an exhibition of the visionary Italian designer Paolo Pallucco.