MILAN IN PERSPECTIVE 2013

DESIGN DUALITY
A report by Mariel Brown & Chloe Amos-Edkins

@Seymourpowell #SPMilan

MILAN IN PERSPECTIVE 2013

DESIGN DUALITY
A report by Mariel Brown and Chloe Amos-Edkins

Both inspirational and overwhelming, the annual design fair in Milan is the largest show of its kind in the world, and as such has been recognised for decades as the centre of the emerging design universe. In this, its 52nd edition, the overarching theme that struck us, as we reflected on the shows highlights, was that of duality. We are currently moving through an age of great contradiction; where the nightmare of political, environmental and financial instability coincides with the fantastical dream of rapidly advancing technology. As students, designers and manufacturers attempt to navigate their way through this chaos, a dichotomy of design responses were bubbling up at the fair. These reflect the complexity of our current situation, and the contradictory nature of the human condition. Seymourpowell has highlighted this duality by arranging eight key trends from the fair into four contradictory pairs.

Cover images: Lana Mangas rug detail by Patricia Urquiola for Gan (top), whale bone detail from the Iceland Whale Bone Project by the University of Art and Design Lausanne (bottom).

A report by Mariel Brown and Chloe Amos-Edkins, Seymourpowell

Main image: Globe Lights by Studio Vit Top: String Lights by Michael Anastassiades for Flos Bottom: Pure by Jean Nouvel for Ruco Line

 any designers felt it was timely to focus in m on only the essential elements of a product, finding comfort in this age of chaos through the process of rationalisation. Excitingly, this approach is creating a new poetic simplicity
Mariel Brown

The Poetry of the Essential

At the show this year, many designers felt it was timely to focus in on only the essential elements of a product, finding comfort in this age of chaos through the process of rationalisation. Excitingly, this approach is creating a new poetic simplicity, an example of which could be seen in lighting manufacturer Flos new String Lights designed by Cypriot designer Michael Anastassiades. The lights are comprised of an LED bulb within a shade, which is connected to metres and metres of thin black electrical cabling. This cabling cord is used to draw geometric shapes in the air and was inspired by the electrical cables found in city landscapes. We particularly enjoyed the functional element of the long cables that allow users to arrange the design around their needs rather than arranging their lifestyle around the design. Anastassiades said, I love how human ingenuity works around problems created by everyday things in the house (like switches and power points) that others have chosen to position where we dont want them. Allowing a sense of flexibility through modularity could also be seen from Studio Vit, who presented their new Globe Lights at the Salone Satellite. The Globe Lights are a deconstructed assemblage consisting of small, matt white, globe shaped pendants and large, gloss white, steel reflectors. The ceramic spheres can be used on their own, grouped together, or used to cast light on the reflectors. The notion of Essential Elements was taken to the extreme by acclaimed French architect Jean Nouvel, who made an interesting diversion into footwear design on behalf of Italian shoe brand Ruco Line. His design, called Pure, was created with the philosophy of reducing the concept of a shoe to its purest form. The result is a shoe made of rubber and leather with an uncompromisingly monolithic appearance. The only embellishment is a serial number along the top of the boot, making each one unique to their owner.

Milan in Perspective 2013 - Design Duality

A report by Mariel Brown and Chloe Amos-Edkins, Seymourpowell

Main image and left: Job Office series by Studio Job for Lensvelt Right: Anomaly seat by Front for Moroso Bottom: Bucket lamp by Studio Job for Moooi

 e witnessed a burgeoning return to a w more playful aesthetic that has taken a back seat since the global recession first hit in 2008, when embellishments quickly became seen as frivolous
Mariel Brown

The Joyful Absurd

While some designers sought to rationalise and focus in on the essential during this time of great flux, others were more inclined to be swept along in the chaos of the moment and we witnessed a burgeoning return to a more playful aesthetic that has taken a back seat since the global recession first hit in 2008, when embellishments quickly became seen as frivolous and unnecessary. Belgian artists Studio Job are well known for their witty aesthetic and at this years fair they presented some bold new pieces that built upon their heritage of unapologetic individualism. At the MOST exhibition they presented their new Job Office series for Dutch brand Lensvelt, which was comprised of stark achromatic objects brought to life by bold gold dipped features such as crassly oversized switches, comic nose shaped handles, and giant toy-like keys. Across town at the Dutch brand Mooois exquisitely lavish exhibition The Unexpected Welcome, we saw further examples of Studio Jobs leanings towards The Joyful Absurd as they presented their Bucket & Tub lamps which were, as the name suggests, lamps shaped like upturned buckets and bathtubs. In fact, many of the pieces on show at The Unexpected Welcome seemed to signify that an art for arts sake approach to design was on the rise once more. Studio Job explains, we have rediscovered a lost path. Consciously and carefully, we are positioning decorative arts in the twenty-first century. Is that design? Whatever. Is that art? Whatever, really. An interesting aspect of The Joyful Absurd trend is that designers are exploring the boundaries between the bizarre and the beautiful. This could be clearly witnessed in Swedish design group Fronts new seat called Anomaly, which has the look of a strange headless animal. The seats polarised opinion, but for Front that was exactly the intention. They described the work as Objects to awaken your curiosity, your affection or perhaps even repulsion.

Milan in Perspective 2013 - Design Duality

A report by Mariel Brown and Chloe Amos-Edkins, Seymourpowell

Main image: HookHayon pipes by Jamie Hayon for Gaia & Gino Left: 'Tea With George by Scholten & Baijings for George Jensen Middle: Magnifying glass by Kanaami-Tsuji Right: Chado tea set by Sebastian Herkner for Verreum

 here was a noticeable interest in products t with which we form emotional attachments through cultural or ritual use. These are not intended to be passing style statements, but instead something you increasingly appreciate over time...
Chloe Amos-Edkins

Heirloom Rituals
Across Milan we felt that designers were seeking to justify the value and relevance of their work by focusing on precious yet functional objects. In particular, there was a noticeable interest in products with which we form emotional attachments through cultural or ritual use. These are not intended to be passing style statements, but instead something you increasingly appreciate over time, cherish for life and want to pass on to future generations. Business-savvy British designer Tom Dixon spearheaded this trend with the launch of his eclectic range in 2012, offering designs at prices the average person might reasonably afford, alongside his bigger ticket items. This year he expanded the range that he hopes will be treasured by you or a loved one. The accoutrements of tea drinking were spotted at numerous exhibits. Sebastian Herkners Chado tea set for Verreum was created for ritual whilst Tea With George by Sholten and Baijings for George Jensen, effortlessly fused Japanese tea ceremony with Dutch coffee culture. The trend for Heirloom Rituals continued at Turkish brand Gaia & Ginos show, where hookah pipes were given a contemporary makeover by Jamie Hayon, Karim Rashid and No Duchaufour Lawrance. A key facet of this trend is enduring materials and handcrafted quality of which could be seen in abundance at the Japan Handmade exhibition, where each of the Kyoto-based craftsmen was on hand to demonstrate their skills and knowledge. It felt particularly pertinent that several of them were reinvigorating skills that had been passed on by their master-craftsmen fathers. We loved the woven metal and wood-handled magnifying glass by Kanaami-Tsuji, that took a time honoured skill usually used to make simple kitchen wares, and applied it to a new category, creating a practical yet precious result.

Milan in Perspective 2013 - Design Duality

A report by Mariel Brown and Chloe Amos-Edkins, Seymourpowell

Main image: Disquiet Luxurians by Emilie F. Grenier Top: Sil container by Matti Syrjl Middle: Grma mask by Charlotte Baverel Bottom: From Creatures jewellery by Moe Nagata

 recious metals and rare stones suddenly P seem gaudy and insubstantial, and instead, beauty and meaning is crafted from the unexpected often uncovering value in the waste materials from human or natural activity.
Chloe Amos-Edkins

Redefining Value
Whilst some more established designers sought to justify their premium price tags with luxury materials and exclusive craftsmanship, young designers and students were challenging the accepted notions of value and luxury, at times even questioning the meaning of consumerism itself. A key aspect of the Redefining Value trend is that it flips the commonly accepted concept of material value on its head. Precious metals and rare stones suddenly seem gaudy and insubstantial, and instead, beauty and meaning is crafted from the unexpected often uncovering value in the waste materials from human or natural activity. We loved the Central St Martins Textile Futures MA student exhibition. Moe Nagatas bold From Creatures jewellery was created using waste materials from the food industry in London and harked back to tribal animism that respects (and makes use of ) every part of an animal - challenging todays global problem of waste and over-consumption. While Emilie F. Greniers Disquiet Luxurians project stood out, it took a thoughtprovoking look at luxury. Interestingly her collection focuses on the material feldspar the worlds most abundant mineral. As she explains, she explores how to transform this otherwise meaningless mineral into a series of post-luxurian artefacts and in doing so challenge concepts of rarity and value. There was also a sense of rejecting overly perfect industrial materials and finishing techniques and raising natures own materials and finishes to a newly elevated position. One lovely example was Matti Syrjls Sil Container set with unfinished birch bark providing a unique and jewel-like lid to each container. Another academic group that impressed was the University of Art and Design Lausanne (ECAL). We were enchanted by their Iceland Whale Bone Project which was focused around materials originating from the Icelandic sea - all flotsam and jetsam found on the beach. Charlotte Baverels Grma mask for example was composed from raw and primitive seal, shark and whale skins and bone. The material choice perfectly grounded the design within the Icelandic landscape from which it came, to create a piece that felt primitive, yet simultaneously ancient and significant.

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Milan in Perspective 2013 - Design Duality

A report by Mariel Brown and Chloe Amos-Edkins, Seymourpowell

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Main image: L porcelain tables Top: Catch Chair by Jamie Hayon for &Tradition Middle: Lana Mangas collection by Patricia Urquiola for Gan Bottom: IS Lounge chair by Miyazaki Chair Factory

 e are seeking moments of sanctuary in our w physical spaces, allowing us to re-charge and re-gain our equilibrium.
Chloe Amos-Edkins

Soft Sanctuary
Our always on digital culture is creating a desire to escape from our hyperconnected lives, and causing us to seek refuge in safe comfort of familiarity. As a result we are seeking moments of sanctuary in our physical spaces, allowing us to re-charge and re-gain our equilibrium. The Soft Sanctuary trend seems to offer a welcome and reassuringly familiar break from the frenzy of the modern age, with soft forms, calming colours and inviting tactile surfaces seen across Milan this year. Its unsurprising that design superstar Patricia Urquiola seems to be at the forefront of this trend, with her trademark warmth and tactility apparent in almost everything she does. Muted and sometimes nostalgic pastel shades were everywhere, with dusky pinks and greys being a popular choice. Often these palettes were kept fresh and modern with more vivid accents in yellow or coral as demonstrated in Patricia Urquiolas Lana Mangas collection for Gan, whose chunky knitted textures remind us of cosy jumpers. But this trend was also manifested in physical form, with soft rounded furniture a strong theme. Chairs and sofas with ergonomic curves and seductive padding seemed to want to embrace the sitter in a generous hug. Jamie Hayons Catch Chair for Copenhagen-based &Tradition is a single piece, anthropomorphically shaped chair that appears to be reaching its arms out to you. Furniture that relaxes with you was found at the Miyazaki Chair Factorys exhibit. Their pursuit of quality craftsmanship and ergonomic pleasure has resulted in a collection that is soft at every imaginable touch point the curved armrests of the IS Lounge chair were particularly pleasing. The From Yuhang exhibition offered a calming sanctuary from the bustle of Zona Tortona. Their designs fuse traditional Chinese crafts with contemporary design. Their L Porcelain tables were showcased in glossy pastel colours, the forms of which were minimal yet rounded, inviting you to run your hands over their surface. Their soft edged G Colour Chairs, made from formed bamboo pulp and updated in calming pastel shades for this years show, were equally gentle and inviting.

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Milan in Perspective 2013 - Design Duality

A report by Mariel Brown and Chloe Amos-Edkins, Seymourpowell

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Main image: Zigzagging installation by Carnovsky for Missoni Top right: Wood Bikini Chair by Werner Aisslinger for Moroso Middle right: Family Vases by Studio Droog Bottom right: This That Other seating series by Stefan Diez Top left: A Moment by Jay Hyun Kim Bottom left: The Art and Science of Fit installation by Universal Everything for Nike

 he boundaries of our physical and digital t worlds are blurring. In the same way that screens are no longer a border between us and our content, so our content is beginning to bleed into our physical spaces.
Chloe Amos-Edkins

Digital Fantasy
As digital inputs become an ever more omnipotent part of our lives, the boundaries of our physical and digital worlds are blurring. In the same way that screens are no longer a border between us and our content, so our content is beginning to bleed into our physical spaces. These digital forays into the physical space often take the form of interactive experiences that allow us to escape the humdrum of daily life. In Milan we observed this at Universal Everythings The Art and Science of Fit installation for Nike, where intricate multi coloured woven patterns dance across the screens intelligently conforming and fitting to the silhouette of the visitor. (Nike) Artist/designer duo Carnovskys Zigzagging for fashion house Missoni, was another fantastical exhibit. An immersive light, colour and sound installation that felt a bit like walking into a giant kaleidoscope. Whilst we felt it would have been best suited to a party venue, the innate sense of dream-like fantasy was powerful. Along with influencing our spaces, the trend for Digital Fantasy is also having an effect on the colour, material and finish of the products. Across the fair we witnessed optical effect fabrics, vivid and iridescent surfaces and surreal graphic gradients as seen in Droogs Family Vases and the Wood Bikini Chair by Werner Aisslinger for Moroso. Powerful flashes of impossibly vivid colour were everywhere, as seen in Stefan Diezs This That Other seating series available in an eye-popping neon pink. Vivid colour was used to tell the time at Spazio Rossana Orlandi, where we spotted MA Student Jay Hyun Kims A Moment. His experience of designing digital user interfaces for smartphone apps had inspired him to create more intuitive 3D objects. His 55-minute timer reveals a beautiful array of vivid colours as time slowly passes.

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Milan in Perspective 2013 - Design Duality

A report by Mariel Brown and Chloe Amos-Edkins, Seymourpowell

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Main image:The Capsule by Tom Dixon and Adidas Top: The Migration rug by Bokja Middle: The Migration sofa by Bokja Bottom: The Migration plates by Bokja

 t this years show we saw many examples A of designers creating pieces that responded to this growing human desire for spontaneity, transformation and movement.
Mariel Brown

Nomadic Design
Great global unrest and upheaval, along with maturing wireless and cloud technologies, are driving many people to lead a more nomadic lifestyle. At this years show we saw many examples of designers creating pieces that responded to this growing human desire for spontaneity, transformation and movement. A compelling example of this trend was the collaboration between influential designer Tom Dixon and Adidas, which had generated much pre-show anticipation. They presented The Capsule - a collection that they described as everything you can pack neatly in a bag for a week away. Fittingly, the exhibition was housed in a former railway station that had been brought to life with sounds of steam trains and intermittent puffs of smoke. A perpetual state of motion was achieved with conveyor belts, which rotated the collection past expectant viewers. The range focused on the notion of transformation and multifunctionality by including items such as parkas that transformed into sleeping bags and backpacks that unfolded to form makeshift wardrobes. Whilst we enjoyed The Capsule collections contemporary utilitarian aesthetic, we also appreciated the more folk embellished expression of Nomadic Design on show from Beirut based designers Bokja. They presented The Migration Collection, which had been inspired by the hopes and fears of people who make the decision to create a home somewhere other than the place they were born. Their collection included The Migration Sofa which appeared to carry a burden of rolled up rugs and bedding on its back. Migration Wallpaper and Rugs bore the motif of birds reflecting their annual migration from one side of the world to another, and plates and cups were embellished with motifs of people who have migrated because of war, political instability and even love. We were amused to see that the notorious migration of film star Grard Depardieu, who has recently registered as a Russian resident amid a tax row with France, was also referred to.

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Milan in Perspective 2013 - Design Duality

A report by Mariel Brown and Chloe Amos-Edkins, Seymourpowell

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Main image: Ripple Project by Studio Shiikai and Poetic Lab Top: Syzygy lamp/clock by OS and OOS Bottom: Soffio installation by Studio IX for Toshiba

 his year we felt that something new was t emerging and that the love for all things natural had taken on an almost spiritual or meditative meaning.
Mariel Brown

Reflections on Nature
As the mass migration to the worlds cities continues and our hyper-connected lives become more fast-paced, we increasingly desire moments of contemplative stillness and seek to take time out to re-connect with the beauty of nature. Indeed, for the last three years or so in Milan, one could witness designers referencing nature in both their form factor and material choices. However, this year we felt that something new was emerging and that the love for all things natural had taken on an almost spiritual or meditative meaning. We were particularly drawn to those designs that blended the technological with the natural, as they seemed to hint at a future where technology would enhance our sense of wellbeing rather than decrease it. An example of this could be seen from Japanese technology giants Toshiba, who had partnered with design studio IXI to create an installation titled Soffio which is the Italian for breath. The installation was comprised of tiny LED lights and crystals that hung in a darkened room slowly fading from dark to half light. As the lights brightness increased, the crystals next to them created a halo effect around the light, allowing ephemeral thin rainbows to appear. Similarly lifting our spirits through the recreation of natural phenomena was the Ripple Project by Studio Shiikai and Poetic Lab. The Ripple Project lamp casts out dappled shadow and light that are reminiscent of those found on surfaces of water. The pleasing effect is created by projecting a beam of light through a gently rotating mouth-blown glass dome and offered a meditative moment to passing show goers who took the opportunity to sit down in front of it as a break from the hustle and bustle of the show. The trend for Reflection on Nature took a celestial turn at Spazio Rossana Orlandi, where Eindhoven based design duo OS and OOS were exhibiting a clock/light that was inspired by lunar eclipses. The new piece is a build on their Syzygy range of lights, which have been named after the astrological term that describes the alignment of three celestial bodies in the same gravitational system. The clock/ light responds automatically to light levels in a room; after dark the light increases and during daylight the light output decreases. What we particularly enjoyed about the design was that it tapped into our innate human desire to gaze up at the sky and wonder

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Milan in Perspective 2013 - Design Duality

A report by Mariel Brown and Chloe Amos-Edkins, Seymourpowell

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A report by...

and...

Mariel Brown
Mariel has over nine years of experience working in design, technology, and social trend forecasting. Since joining Seymourpowell seven years ago she has worked on a diverse range of projects including user research, product strategy, and global trend studies. Mariel won a D&AD Award for Product Design and a D&AD Award for Environmental Design, before gaining an MA in Design Products from the Royal College of Art.

Head of Trends at Seymourpowell

In her current role as Head of Trends, she translates her trend, market and user insights into tangible future directions for numerous clients including Samsung, Panasonic, LG, Dell, Ford, Unilever and ASICS. Mariel has contributed trend commentary to numerous international publications, most recently, Contagious and Viewpoint Magazine.

Chloe Amos-Edkins
Design & CMF Researcher at Seymourpowell
With a multidisciplinary background combining design and CMF research, Chloe has eight years experience with design innovation projects for clients ranging from transport and consumer electronics brands, through to FMCG. Her skills combine design research and consumer, lifestyle and design trends analysis. These are used to inform future focused design strategy, visual language and CMF direction. Chloe gained a first-class honours degree in Design For Industry from Northumbria University. Whilst studying, Chloe won an RSA Student Design Award for a public toilet concept, which eventually lead to an interesting discussion about toilets with The Queen! Some of Chloes clients include Ford, Dr. Martens, Unilever and LG.

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Milan in Perspective 2013 - Design Duality

A report by Mariel Brown and Chloe Amos-Edkins, Seymourpowell

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Milan in Perspective 2013 - Design Duality

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