Among the most practical, versatile and indispensable furnishings not only in residential but also in commercial contexts are modern-style coffee tables.

Characterised by innovative designs, they are perfectly suited to all rooms in the house – from the living room to the bedroom – as well as offices, hospitality facilities, professional offices and so on. By choosing the right models and placing them next to armchairs and sofas, but also next to a wall or in the middle of the room, it is possible to give rooms that extra touch of class and personality that can really make the difference.

Among the best collections of high-end designer side tables are those proposed by B&B Italia, a made-in-Italy company that is part of the Flos B&B Italia Group. The brand’s products, created in collaboration with internationally renowned architects and designers, stand out in the design furniture scene for their unique shapes, capable of representing contemporary culture on the one hand and anticipating trends on the other.

Furnishing homes and offices with modern side tables

Modern coffee tables are true must-haves for environments that aim to sublimely combine aesthetics and functionality, winking at the contemporary.

Designed to be tastefully furnished, they do not renounce their function as table tops on which to place coffee and tea cups, vases and furnishing accessories or table lamps, newspapers and books, so as to make rooms even more pleasant and relaxing.

Precisely for this reason, they can be placed not only in the living room of the home – an environment in which it is literally unfailing -, but also in offices and waiting rooms, in lobbies and the most luxurious hotel rooms, in high-fashion ateliers and, in general, in all spaces destined for reception and relaxation.

Of course, to achieve an impressive result it is essential to pay attention to style, colour, design and materials. In the choice, nothing must be left to chance, and everything must blend in the best possible way with the context.

Designer side tables by B&B Italia

An international leader in the high-end furniture sector, B&B Italia includes in its catalogue modern coffee tables with irresistible charm, characterised by original shapes and made of often innovative materials. The wide choice makes it easy to find the most suitable model – also in terms of colour and size – for any residential or commercial setting.

Among the most iconic models are the Fat-Fat and Lady-Fat coffee tables, designed by Patricia Urquiola and characterised by a light, essential and refined shape in the former and a soft and feminine design in the latter, which also serves as storage. Also worth mentioning are the Alanda coffee table – designed, with its bold, geometric shapes, by Paolo Piva in the 1980s and revisited in recent years in a contemporary key -, Frank by Antonio Citterio and Spoon by Piero Lissoni.

Awa by Naoto Fukasawa, the tables with plastic lines and an irresistible surface

Unique in form, but above all for the material quality that distinguishes it, is the Awa collection, created for B&B Italia by designer Naoto Fukasawa.

Characterised by a plastic, sensual and pleasantly asymmetrical design, the Awa coffee tables combine functionality and design in a refined way to create high-level support surfaces, able to integrate perfectly into all environments furnished in a modern and contemporary style.

The two variants available are respectively made of hard polyurethane, a resistant material that offers a wide range of colours in both glossy and satin finishes, and white Cristalplant®; this material gives the coffee table a surface that is very resistant and easy to clean, but also soft to the touch, ideal for a complete sensory experience.

The post Furnishing with high-end modern coffee tables first appeared on The Glass Magazine.

Dior Maison Aquarius Collection: Dessert Plate Green Aquarius (£110)

Located by Christian Dior’s country home, far away from the busy and intense Paris lifestyle, the tableware collection aims to represent the feeling of unwinding and leaving troubles behind.

By including an assortment of glassware and glossed over crockery, the collection truly captures the essence of light reflecting on water and brings the breezy sense onto your table.

The standalone fish ornaments are made in Murano, entirely by hand and in blown glass, “Everyone can choose their fish, they are all different,” explains Cordelia, “In the stream nothing is orderly, and I wanted to capture that here.”

Dior Maison Aquarius Collection: Pitcher with Fish Transparent Aquarius (£320)

Scenes of highly detailed illustrationsare displayed over the larger plates, featuring starfish inspired by the stars of Monsieur Dior, and the seashells that evoke nostalgic memories of cheerful beach trips.

Each of these elements play a role in the creation of the somewhat romantic and playful toile du jouy-inspired patterns, adding a touch of elegance to your home from the mid 18th century.

Dior Maison Aquarius Collection: Decorative Plate Green Aquarius (£150)

by Alicia Tomkinson

The post Dior Maison releases the Aquarius tableware collection  first appeared on The Glass Magazine.

CEO of Nolii, Asad Hamir was all too familiar with this modern conundrum so he decided to put his business mind and passion for design to the test. 

Nolii’s range of seamless phone hardware offers smart solutions for day-to-day phone use. It boasts entirely unique designs, and its incredibly stylish appearance is appealing for the 

Hamir’s passion for design was ignited when he worked in an eyewear shop, and he has since had a successful portfolio of small businesses under his belt, one of which made an appearance on the hit BBC show Dragon’s Den.  

Glass caught up with the tech entrepreneur to chat about Nolii, the importance of sustainability in tech and all things design. 

Nolii accessories

How did you start your journey into tech?

I started a technology reseller business, and It’s funny because I did optometry at university. My family is from East Africa, and my mum is an optometrist and she was the only one in the family who had an education. My mum was like “why don’t you do optometry”, so I did, but I always loved tech because my dad was an electrical engineer. We always had tech in the house, and he was always deconstructing computers, but I think working in an eyewear shop and selling designer glasses gave me a taste of design.

I graduated in 2007 and started this tech reseller business in 2009. At that point, the smartphone market was releasing a new phone every year, and everyone was buying a new phone every year so I started reselling 02 phones to the community because it was the only network that worked in the area. I sold 4000 phones in the first year, and then I started working at their stores. It grew really fast, and it went from 2 of us to 200 people. It was a pure sales business. 

After this, I started an eyewear brand, and I went into business with the wrong people and I made a ton of mistakes. It was so different going into a creative business from a sales business. I was able to learn about industrial design, and I saw that were was a lot of research into problem-solving and not much actual design.

I thought wow, why has no one done this sort of process for tech. I was looking at my tech bag and it was a mess. There were cables everywhere and I was always out of power. I then went on google looking for an industrial designer and found Benjamin Hubert and we started making the product. 

What does Nolii mean?

Nolii = Nomadic, lifestyle, intelligence 

Nolii is built with a team of creatives. You found Benjamin Hubert on Google. How did you find the others?

A lot of it is just networking. So like some of the things I’ve always been good at, which is like selling and meeting people. Once we created the vision of Nolii, that drew a lot of people to us, and a lot of people then got interested in it. We had to prove that we could do it, because it’s no good creating the concepts. 

Nolii’s slick charging loop cable

What hurdles did you face while creating Nolii?

I went to sign off the final prototypes in 2018 just before the last design festival and they were a complete mess. I said to myself, “ok I’ve got to learn everything myself” and I took two to three months to do that. Eventually, I brought the right people in, but it took us a lot longer than expected, and then Covid-19 hit. We were supposed to launch in April 2020. We pushed through and now we’re just focusing on building the brand and reaching as many people as possible. 

From a visual perspective, the Nolii hardware is very chic. What inspired the look of the products?

Definitely the colour. What I saw in the market was a lot of mobile accessory brands being designed by a lot of men of the same ethnic group. When it came to designing colours for women they always did pink. I thought to myself, “these colours should be androgynous”.

Where’s the Acne Studios? Where’s the Cos equivalent? We wanted people to have those neutral colours and be able to customise them. Anker has around 95 different power banks, and that’s just not the Nolii way. The Nolii way is to start with the problem and make one great power bank. The Nolii couple battery is your everyday one, and the set battery is for longer use. 

How sustainable is Nolii?

The products are built to last. These are electrical products as far as EU laws and standards and there are specific regulations that mean you have to use certain materials such as plastic. The industry still hasn’t caught up. We’re now actually thinking about using more recycled aluminium and things like that. 

A lot of power products are ultrasonic welded, which leads to a lot of fires in recycling plants and it’s really hard to recycle them so they end up putting them in the incinerator. The lithium usually can’t be reused. With our ones you just take the top off, unscrew and deconstruct it which means you can take the lithium iron out and reuse it.

When it comes to the end of life, we’re thinking about the whole piece. Having my own sustainable tech brand is very focused on the design because first and foremost I want to make products that people are going to use and rely on without having to worry about buying another one. 

The second thought when it comes to sustainability is making sure the factory and workers are treated fairly. I’ve lived in China, and I’ve seen this on the front line. I know the workers, and I know how they’re treated. 

The bottom line is that electronics are not sustainable which is why it’s really important to look at it end to end. With materials, you can say that they’re sustainable and recyclable but they only need to be a by a certain percentage.

The set battery

The design of the set battery is so unique. Tell me the story behind it.

When I was working in stores I would see the same people coming in again and again at like five o’clock on a Wednesday because they had forgotten to charge their power bank. I was like, “why don’t you just charge your power bank?” and they would explain that it was just another cable that they needed to hold. I asked my designer Benjamin “how do we change the ritual of charging a power bank?”

I wanted people to not forget to charge their power bank and I wanted it to be as easy as throwing your keys on the table. The idea is that you just magnetically attach it while also charging your phone if you want. 

From a price point, you’re much lower than your competitors. Why have you chosen to keep costs low?

We’re not trying to be Apple prices. We want to be 30% less than Apple. Tech design has almost gone a little bit too expensive and it should be democratic. It should be for everyone. Good design should be accessible. We want to try and change that conversation and show people that you can still get good design like you do from Apple.

They would use about fifty engineers per product but we only work with great designers and we want to work with all the emerging talent, and that is something that excites me. 

by Katrina Mirpuri

To buy products from Nolii, visit their website here.

Feature image credit: Charlotte Hadden

The post Glass talks to tech wizard Asad Hamir about his sustainable new stylish hardware brand Nolii first appeared on The Glass Magazine.

Office spaces are usually created with productivity in mind and designers spend a long time coming up with the perfect décor. Over the past year, many office workers have been forced to swap their curated office space for a spare room in their home and this can have an effect on productivity. The good news is that you don’t need to simply set up a desk next to your spare bed if you are working from home – you can transform it into a productive office space. Read on for some of our tips.

Start with flooring

One of the first things that you should think about when you are transforming your spare room into a productive office space is to start with the flooring. Typically, wood and laminate floors work best in a home office so do some research and find a good laminate flooring supplier to get started. Swapping out the floor might sound drastic, but you are going to be spending a lot of time in there, you’ll want it to look and feel more like an office.

Clear The Clutter

If you have previously used your spare room for storage space, you might find that there is a lot of clutter in there. This is not something that you are going to want to keep in your new office space as clutter only impacts productivity negatively. So, spend some time getting rid of any items that you don’t need in there. This includes excess furniture, clothing and TV screens that might distract your attention when you are working.

Spend Big On Furniture

You might be tempted to relax when you are working from home on the couch, but this can be a big mistake. If you really want to have a productive office space at home, then you need to make sure that you have the right furniture. This includes a large desk to fit all of your equipment and a comfortable chair that is going to support your back as you work. You might find that your employer will supply furniture for you to use at home, but this isn’t always the case. Don’t be afraid to spend big to achieve the right level of comfort.

Personalise It

You might not realise this but the overall design and colour scheme that an office space has can actually impact productivity. Did you know that art can help to make you think? For this reason, you should try to personalise your home office space and design it in a way that makes sense to you. If you can achieve this, you can also make it feel more like an office than your spare room.

Final Verdict

If you are currently working from home but are struggling to get work done, then you should rethink your current home office space. Use some of our design tips and don’t forget to consider your comfort levels.

Image: Pixabay

The post The Guide To Transforming Your Spare Room Into A Productive Home Office first appeared on The Glass Magazine.

Touching down in Stockholm, I’m met with a thick layer of fluffy white snow. I assumed this was normal as a first-timer but apparently I’m wrong. “Sorry, we don’t normally get snow in February,” apologised the customs officer as he checked my passport.

I head straight to the train station to catch a ride to my hotel and wait patiently. The information boards are slick and clear, leaving no confusion for times. My train arrives promptly and I step into the carriage before taking a quick double take. A long desk looking out of the window is lined with individual lamps and charging points, and I’m reminded of what looks more like the study area of a library than a train.  

Arriving at Hotel Diplomat, I step into the warmth and head to the check in desk where I’m given keys to my fifth floor room. Now, in this hotel I have two options – take the stairs or wait for the one lift. I opted for the lift as it’s heavy gold iron curtain was incredibly enticing. The wait was well worth it. The art nouveau lift arrived in style with a loud ‘ding’. Why are old fashioned lifts so charming? Finally flopping onto my hotel bed, I soak in the view of the river and snow covered city and start to get myself into design gear for the week ahead.

The exterior of Svenskt Tenn

Luckily I didn’t have to look very far for inspiration as Sweden’s famous interior design shop, Svenskt Tenn is a mere 200 metres away from the hotel. The urge to buy everything is strong as homeware pieces stand out like precious artwork. Gaining a reputation for conforming to strict design standards, Svenskt Tenn has maintained its level of design quality since its beginnings with founder Estrid Ericson.

Luca Nichetto’s lamps for Svenkst Tenn.

Whilst roaming around the shop, I faced my first Stockholm Design Week exhibition which came in the form of a handmade glass lamp collection from Luca Nichetto. The collection named Fusa, is exclusively made for Svenskt Tenn. Each lamp bares a vague resemblance to the shape of a mushroom as the head of the lamps bubble over a narrow stand. Bright glass melts into itself creating a rainbow of deep colour, making and each piece the focal point of any room. To turn on the lamp, a light touch is all that’s required. I place a thumb on the base of the lamp and watch it grow bright like a sunrise. Who needs an ugly lamp switch anyway?

Leaving Skvenskt Tenn empty-handed is a skill I don’t possess, so I pick up a heritage Josef Frank printed tray and leave the shop with a strong urge to replace my household items.

Next, a visit to ArkDes – Sweden’s National Centre For Architecture and Design – is a brilliant introduction to Stockholm Design Week’s new talent. Young designers stood proud to present their work as part of the Young Swedish Design 2019 showcase.

The Lobster by Martin Thübeck

A number of thought provoking pieces stood out but it was Martin Thübeck’s Lobster that really caught my eye. Thübeck presents the idea of a chair in an abstract form with its name taking inspiration from the colour of a lobster. Thick red tubes are moulded to into the structure of a chair with supporting areas cushioning. At a glance it’s a conventional chair but Thübeck’s design challenges you to look again and question its purpose. Each individual will approach it differently as there are numerous ways to sit in the chair. When talking to Thübeck he explained “I tested the chair in a room full of children to see how they would sit on it. After observing this I saw that there is no one way to sit on this chair.”

An illustration of Boxen

The exhibition was showcased in the centre’s newest space Boxen, which in itself is a design masterpiece. The space takes into consideration height and perception with bordering ramps and staircase which gives a higher visual access to all of the interior exhibition space. It’s refreshing to enjoy all the elements of design in the centre, even when it’s as simple as an exhibition space.

Before delving further into design week, I took a quick trip to an island not too far away from ArkDes to discover a very special sculpture. Stepping through inches of untouched snow, I walked towards a huge 25-foot towering concrete structure made by Pablo Picasso. I couldn’t get around the random placement of this artwork as Stockholm was the last place I imaged to come face-to-face with a real life Picasso. The work is called Dyande Måsen, or Diving Seagull in English, and it portrays a Picasso-style bird diving into the ground. It’s a bold, abstract ode to art and I give the sculpture one last look before heading to Stockholm Furniture & Light Fair.

The Unfolding Village exhibition

A stand out piece at the fair is the The Unfolding Village exhibition which is presented by Neri&Hu, the Shanghai-London based design firm. Inspired by China’s rapid disappearing village crisis, The Unfolding Village explores the concept of space and interaction between community. When giving a talk at the press conference, Neri and Hu spoke about the gossip culture in China and how they recreated this idea of hearing news about others through their innovative structure. Staggered walls allows guests to weave between the structure and find a space to hide away whilst remaining close to others. The structure utilises space whilst creating a sense of false privacy.

Bond, by Fogia

Design Week is a time where studios and showrooms open their doors to the public, revealing new collections after months of hard work. After a day of visiting Notes studio and Offecct, the day came to an end with a private view at Fogia’s concept space which was located in an ex-shipbuilding yard. The 1200 square-metre space hosted the entire new collection from Fogia, including sofas, tables and shelving. The space alone is a delight as the high ceilings and industrial feel present the perfect backdrop for Fogia’s open-plan living style.

The winner of the collection is Bond, the shelf design which offers intelligent, build-your-own shelving solutions without the need for tools. The wooden pieces can be assembled to be free-standing from the ceiling or simply wall or floor mounted. Looking at Bond, it’s easy to imagine the shelf taking form around any features in the house without getting in the way. Seamless in appearance, and easy to assemble, Bond is a time machine allowing us to see into the future of modern shelving.

As design week drew to an end, I spent my last night hopping between after parties hosted by design studios. The weeks of hard work and excitement came to a head as both upcoming and established designers merged into one as they discussed their passion of design whilst sipping on glasses of bubbly. A sense of unity brought the trip to a successful end.

Stockholm left me with a strong urge to replace my household furnishings and an insight into the future of design. The marriage of sustainability, simplicity and style is the formula to success, and Sweden continues to apply these elements, hence remaining the centrepoint of international design.

by Katrina Mirpuri

Feature image by Tove Freij

The post Glass uncovers the future of design at Stockholm Design Week first appeared on The Glass Magazine.

Louis Vuitton’s Objets Nomades is a collection of furniture and objects that are both functional and innovative in design, while simultaneously reinterpreting Louis Vuitton’s 160-year-old history of the Art of Travel. The collection includes an array of international designers such as the Campana Brothers, India Mahdavi, André Fu and Marcel Wanders contributing to this expanding collection. The collection now includes an array of smaller decorative objects that are called Les Petits Nomades.

Anemona Table by Atelier Biagetii

Atelier Biagetti is a pair which consists of designer Alberto Biagetti and artist Laura Baldassari. This year at Design Miami 2018, they are presenting two new tables. The first is the glass- topped Anemona Table that takes reference of their hometown Ravenna that lies near the Adriatic Sea with the blue lacquer interior and light beige exterior made from natural leather.

Serpentine Table by Atelier Oï’s

The second table is Atelier Oï’s Serpentine Table that has a glass top that lies on criss-crossed American walnut legs held together with blue leather Louis Vuitton straps. The table is inspired by the movements of traditional dances, toying with weight and tension. The Serpentine Table is available as a large dining room table, or as a coffee table.

Blossom Vase by Tokujin Yoskioka

Tokujin Yoskioka’s Blossom Vase is the third object to be introduced into Les Pretits Nomades. The clean lines on the vase are inspired by Louis Vuitton’s monogram pattern. Each vase is hand-blown into either clean or black glass by artisans in Murano, Italy to ensure the finest finish direct from the masters.

Cocoon Swing Chair by The Campana Brothers

Objets Nomades will showcase new variations of two select pieces of furniture at Design Miami. The Campana Brothers’ Cocoon Swing Chair – introduced in 2015 – will now be available to purchase with a turquoise, sheepskin- covered shell and lambskin covered cushions for comfort and aesthetic. André Fu’s Ribbon Dance Chair will now alternatively come with turquoise cushions and arms made from deep black Louis Vuitton leather.

Ribbon Dance Chair by André Fu

by Imogen Clark

The post Louis Vuitton presents their Objets Nomades at Design Miami first appeared on The Glass Magazine.

With the help of set designer Alexandre de Betak, Maria Grazia Chiuri, creative director of Christian Dior, paid homage to the 50th anniversary of the Paris youth revolts in which the structure and morals of society were brought into question. Taking place in the Musée Rodin the structure took up 1400m2 and had walls covered in 3000 printed posters from the late 1960s that referenced this period of political uprising.

The use of a 1000m2 mirrored ceiling created a clever illusion that made the number of posters seem multiplied. This reflective method was also adopted for the SS18 show which saw the mosaic installation of 80,000 mirrors to act as the glimmering backdrop. Watch the video below for a glimpse into the finished product and click here to read our review of the show.

by Lily Rimmer

The post Christian Dior AW18 show scenography first appeared on The Glass Magazine.

Lightness: The Full Spectrum exhibition at Colony’s showroom in Tribeca by Alan Tansey

Tribeca Design District

Colony

This showroom is consistent in its aesthetic and sensorial punch, but this NYCxDESIGN is presenting something unprecedented. Its founder-curator Jean Lin has produced a sculptural exhibition of mushrooms statuettes, a stark landscape of glaringly all-white curio against which its designers’ collections will be debuted and highlighted. The guiding theme for the collections and installation was “lightness,” and the full show (with accompanying events series) is titled Lightness: The Full Spectrum. Lin speaks to the theme, noting that after America’s devastating presidential election, she and her community “were enveloped in a darkness created by the divisive and vitriolic tenor of our country and our world… [the meaning] of lightness began to take on so much more.”

David Weeks Studio

Industry veteran David Weeks, continuing to push the limits of his output and forge new ground with his materiality, has produced a new collection with Senegalese artisans. The Waaw Collection, all woven furniture and featuring both lighting and seated furniture pieces, will debut in a collaborative presentation with textile designer-sculptor Elodie Blanchard at its Walker Street storefront. Aside from his groundbreaking new collection, David’s incredible humility and his ironic penchant for unexpected humor are both worth a visit to his storefront.

Aardvark Interiors: The Debut Collection

Aardvark Interiors’ The Debut Collection

Aardvark Interiors launches its debut collection this NYCxDESIGN at ICFF NYC, the United States’ premier platform for contemporary global design.

Founder Jason Gandy helms the design team at this Brooklyn-based woodworking and design firm, which previously has only done custom work. Each of the collection’s pieces – a mirror, credenza, wall shelf, and desk – is made with splined joinery (detailing “epaulettes,” beautifying the delicate curvatures of each edge) of cascading sapwood-heartwood compositions.

The Future Perfect’s Secret Showroom by Lauren Coleman

The Future Perfect’s Secret Showroom by Lauren Coleman

The Future Perfect’s Outlines in Its New Secret Showroom 

The Future Perfect is a bicoastal contemporary luxury design showroom (New York City and California) that, this year, is bridging the continental gap with a VR exhibit. The goggles transport viewers to the sunny showroom in Los Angeles from the Manhattan outpost on Great Jones Street – a design bastion on the sceney block, which houses occult clothing stores, infamous food joints, and independent gallery spaces.

And just down the block from its public showroom on Great Jones is a new “secret” space, available for showings on a need-to-know basis. The inaugural collection showing in the office space-cum-secondary showroom features debuting sculptures and hanging mobiles by designer Karl Zahn, the global launch of new furniture pieces by De La Espada, and interior design, lighting and upholstered furniture by For Reference design studio.

A MADERA residential wood flooring project, photo by George Del Barrio

A MADERA commercial wood flooring project, photo by Charlie Bennett

Madera X Reform Showroom

Finished hardwood and reclaimed wood flooring company Madera opens the doors to its new Clinton Hill showroom in a partnership with Reform, a Copenhagen-based kitchen design company that uses Ikea “carcasses” and, partnering with huge design world names, brings them to life with mindfully designed exteriors. The mechanics of the final product are sturdy and high quality (thanks, Ikea!) and the outer aesthetic is mindfully created and unique to each client.

MADERA’s scope isn’t limited to flooring: they do wall surfaces, as well, and aside from their strikingly beautiful collections, they provide customized work on a project basis. To see the lines curated into “rooms” in situ with Reform’s designs, visit the new showroom, which is in fact a repurposed industrial building just outside the art-centric Brooklyn Navy Yard (and which also functions as a creative lab, design world meet-up place, and hosts the miniature art spot, Cooler Gallery!).

A piece from Fernando Mastrangelo’s collection

Elyse Graham Resin Tables

Sight Unseen OFFSITE

What would Sight Unseen be without its own VR, too? This year, one of the highlights is designer and art director Tom Hancocks x Twyla, an e-commerce luxury brand that connects art lovers with contemporary artists/their works. Hancocks has designed seven rooms, viewable through headsets as 360-degree panoramas.

Directed at interior designers, aesthetes, private clients or shoppers, and design industry players, Sight Unseen OFFSITE is an approachable setting in which high-end design is not compromised for a comfortable atmosphere. NYCxDESIGN in general, in fact, has mastered that balance of luxury tastefulness and open arms (versus, say, the scene at the Milan industry fairs, which feel somewhat less approachable).

Pushing both literal, spatial boundaries and those of “membership” to the design community, Sight Unseen has partnered with select retailers and restaurants around New York City to further their programming. You can find everything from art- and sculpture-inspired manicures at the hotspot nail salon Paintbox to a debut peppermill design and associated cocktail at the inimitably offbeat Chinatown restaurant Dimes.

Highlights include Fernando Mastrangelo, Elyse Graham, New Tendency, Simon Johns, and the collaboration between Calico Wallpaper and The Principals design studio.

 WantedDesign Manhattan at the Terminal Stores in Chelsea

WantedDesign’s Design Milk x Modenus Talks Lounge

WantedDesign, always one of the season’s largest players and one of New York City’s most kinetic movers and shakers on the design scene, is hosting Design Milk and Modenus (a digital resource for design industry professionals) this season, who in turn has produced a consciously minded series of public talks. The series involves big industry names and even bigger industry topics: rethinking global forestry, the incumbent influence of technology on our day-to-day, consumption habits in the age of intelligence, and the “can of worms” that is defining Americanism when it comes to design, among others.

Our pick for the talks series is Building Balance: Culture, Context and Inclusion in Design. The panel was curated and will be hosted by Kate McTigue of OTHR, a start-up design company that uses 3D printing technologies to produce the inventive fruits of its design collaborations (and which was co-founded by the prolific design pioneer Joe Doucet).

Again a hard-hitting topic, the discussion will revolve around the value, and dearth, of diversity in contemporary design. Featuring a panel of all women influencers, the talk will address talent, representation, gender and other demographic imbalances and, as it states, will leave its audience “with a deeper understanding of this topic and actionable ways to begin shifting the landscape of design for good.”

by Emily Rae Pellerin

The post Glass reviews this year’s Vibrant NYCxDESIGN first appeared on The Glass Magazine.

Mi Casa Su Casa – Glass meets João Botelho, the bright spark behind Casa Botelho – the newest name on the interior design scene in London

MORE often than not for an interior designer new to the scene, their calling card, by default, is their home. In the case of João Botelho, this Brazilian native’s pride and glory emerges in the form of an immaculately laid out and infinitely chic residence that is his four-storey townhouse home in the heartlands of east London. Beyond just a calling card or trophy piece, however, this immersive space has set the stage for him to shine in his own right as an interior designer with immense soul that resonates through his design outlook.

Now offering new inspiration to the scene by way of his first grand redesign, João’s brainchild, interior design firm Casa Botelho, has got all the right people interested. Glass talks to the enterprising creative about his journey so far.

João Botelho, Casa Botelho founder

You were originally born in Brazil and in 1994 decided it was time to fly the nest and make London your home. What did you take from your upbringing in such a vibrant country?
Brazil is a beautiful country filled with happy people, gorgeous beaches, sunshine all year around and it has a wonderful culture. I was raised by my parents and we were four boys. They worked hard to educate and discipline us the best they could. My mother is my idol, my soul, my friend and someone I look up to in many ways. Ever since I can remember she was a great supporter of my lifestyle choices and work. I started working when I was 15 years old at a bank but moved quickly to retail.

At the age of 18, I was already managing a fabulous Luxe boutique called Divina Decadencia and I worked as passionately then as I do now. In Brazil, family is everything and something I still cherish every day of my life. We gathered on the weekends for big meals, would drink ice cold beer and sing and dance. Today I take every chance I can to apply the principles that shaped my upbringing and never take anything for granted.

Botelho’s living room

You then immersed yourself in the world of global luxury retail. Could you tell us more about your motivation behind wanting to experience and ultimately live this first-hand?
I was very ambitious and I knew I wanted to aim high. When I arrived at Heathrow airport I had six suitcases filled with fabulous clothes and shoes. I came with a mindset that I had to “dress to impress” and readied myself to continue my journey in the luxury world. The beginning was tough but I knew I had to go through new challenges and be fluent in English before I could immerse myself in luxury retail in London.

My first full-time job was at Harvey Nichols Fifth Floor Restaurant as a waiter. It wasn’t retail but I was connected to it and surrounded by luxury items. It was very glamorous and I was lucky enough to serve many fabulous people including Princess Diana. We had a great staff discount and so I could continue to build my wardrobe, only now with European designers. At Harvey Nichols I learnt a lot about discipline, food, wine and service; a great school for anyone that is arriving in a new country.

A design detail from João Botelho

What would you say is your design ethos?
Our signature style is recognised by the use of strong lines, neutral colour palettes, luxe fabrications together with rich and natural materials that age beautifully. Symmetry and optimal use of space and attention to extraordinary detail is also an important principle.

What is your favourite room in your house and why?
The pièce de résistance is the en suite. It is like a sanctuary filled with drama, boldness and the most fabulous elements that one could dream of. I love coming home, running a bubble bath, lighting the fire, dimming the lights and putting on some soothing music and, of course, having a Martini. I anxiously await that serene moment when I can enjoy the scent of my favourite candle, the sound of the water, the rhythm of the music and the warmth of the fire.

The bathroom

You describe dressing your home as being akin to dressing yourself, dressing to impress, but how would you say you bring your style to reality most effectively?
Casa Botelho offers an utterly unique and exciting style. It has individuality within the industry, a form that is both strong and personal and magical and moving. Symmetry is all important and key to my style. In fact I have an addiction for symmetry that keeps growing each day. I like to see everything in the right place; items lined up like soldiers and, without a doubt, colour coordinated too. I take real pride in ‘dressing to impress’ my home and myself. No matter where I am going I have to be dressed and colour coordinated too.

João Botelho’s elegant home

Finally, what are you most excited about when it comes to undertaking custom projects and essentially dressing the homes of others?
Our approach is to partner with our clients from concept to completion, listening to them and translating their vision and desires into a finished product that brings a smile to their face and joy to their daily life. Developing custom-made items are my favourite projects. It is where I can incorporate the sense of luxe that I love, the quality that I always adhere to and the attention to detail that Casa Botelho stands for.

by Livia Feltham

Images courtesy of Anthony Coleman and Juliet Murphy

The post Glass meets … João Botelho, the designer behind Casa Botelho first appeared on The Glass Magazine.

Jennifer Gootman, Director of Social Consciousness and Innovation at modern décor retailer West Elm

Why do you think it’s so important for brands to seriously consider making a positive impact on the world in this day and age?
We all want to live in a world that is improving, where there are opportunities and rights for people and I think gone are the days where business and societal responsibilities are separate. They’ve become equally integrated and we can be forces for change. Who wouldn’t want to work for a company that believes in that, and who wouldn’t want to purchase from a company that believes in that?

Viento Dark Steel and Reclaimed Wood Dining Table by ABC Home

In 2013, West Elm made a Clinton Global Initiative Commitment to Action. Could you tell us about what this involved?
Three years ago we made a formal announcement that through the Clinton Global Initiative we would increase our sourcing of handcrafted products. We now work with twenty artisan groups in 15 countries around the world, and when I talk about it sounds like a large public statement but the work behind it had really been going on for years at the company, developing organically.

When the current president, Jim Brett, joined in 2010, he saw the opportunity to turn West Elm from a furniture store into a lifestyle brand and so our design team started collaborating more with artisan groups as a way to bring real soul into the brand, and we’ve been expanding on that ever since.

Calypso Recycled Multi Coloured Shuggy Rug by Hammer and Thread at Upcycle Studio

The following year you then became the first home goods retailer in the world to offer Fairtrade Certified rugs. What was the importance of this for West Elm?
Through the Clinton Initiative we saw the impact that could be made on communities around the world and it really inspired us to think more about how we could take it to the next level. About 20 per cent of our assortment is handcrafted as are the artisan pieces but the partnership with Fairtrade USA really allows us to look at a broader spectrum and level out the products that are made in factories.

We were really one of the first brands specialising in homeware to join Fairtrade and, again, it really was all about impact and supply chain transparency and being able to communicate to our customers the high standards that we have. Thus being in the Fairtrade programme has allowed us to improve the lives of the workers making our products. Being able to do that simultaneously through the way that we do business is such an invaluable opportunity.

Souk Wool Rug by West Elm, handcrafted in India by craftmark-certified artisans
from 100 per cent high pile New Zealand wool

Through your global welfare initiatives West Elm has benefitted countless numbers of family groups and artisan workers who are mostly disconnected from more highbrow lifestyle industries. What have you learnt most from this?
What I love about West Elm’s approach, and what has taught me most, is ultimately the power of a lot of people working together towards a common end. It really is about communication and listening and I think that even in the developing world a lot of things can be top-down, so what we’re really trying to do is go to the communities where these people work and establish a dialogue. By doing this we can find out what they are in need of, and what they are striving for. So it’s all about listening and then together figuring out and creating a plan that really achieves something for them.

Potter’s Workshop Dinnerware Collection by West Elm created in Cape Town, South Africa by a
collective of home-grown artists known for their bead-like patterns

What value do you think the consumer gains when they know a product has been sourced, produced and marketed with a social conscience and responsibility in mind?
The reason we commit ourselves to the initiatives we undertake is because we believe they’re the right thing to do in order to share information with our customers. Doing this, beyond producing great designs, is part of our responsibility as a brand to help customers understand all the stages of production and bring that visibility to them. This should be the standard way of doing business. I think it’s safe to say there is a growing base of consumers who are becoming more and more interested in the social impact of their products and where the products come from. The more retailers like West Elm who can join in this, the more customer visibility and demand there will be too.

 by Livia Feltham

The post Glass meets Jennifer Gootman of West Elm furniture first appeared on The Glass Magazine.

A testament to the unexpected, the new work found the Campanas experimenting further with found materials and incorporating a number of traditional cultural reference points gone awry.

From the grand piazzas of Rome to the favelas of São Paulo, it’s all there and Glass spoke with one half of the Campana Brothers, Humberto, about the hybridism behind their latest exhibition and the collaboration that fueled it all.

What made you want to set up shop in London during Frieze Week this year?
Because everything happens here, you know, all the investors flock here for the security reasons, you know from Paris, New York, Milan, Asia, everybody … London today is the capital, the cultural capital of the planet, so it’s very important to be present, to be seen here.

This collaboration sees you branching into fashion, what has your relationship been with garments prior to this?
We have been working with and have put together collaborations for fashion brands across Europe, from radical fashion interior based work commissioned by lucrative brands such as Fendi, to Lacoste, who we collaborated with on a collection of limited edition Polo’s. For Brazil’s H Stern jewelry we produced a collection of pieces in collaboration with a friend of ours Judy Blame, which was a really interesting collection.

You know I think the creators of the 21^st century are multi-disciplinary; I like to visit other universes such as landscaping, architecture, gardening, fashion, design. I’m very curious; my eyes are very open to everything around me.

Your collaboration with Melissa, Barroco, comes along with the tagline The Harmony of Imperfection, what value does supposed ‘imperfection’ add to a piece of design?
From the imperfection, from the mistakes I learn quite a lot. Sometimes we are so conscious about how I’m going to do this, but as it happens that sometimes does not go so well. Then we discover a new universe, you know, so I’m very interested about this.

When we created our first collection, I was a lawyer, and me and my brother we started being known as designers in ’89, when we made a collection and we named it Uncomfortable. It was always based, you know, on the imperfections, things that bring humanity.

It was very rusty, aggressive, full of mistakes, but was strong and had all the seeds of our work. Most of the things we still do to this day stemmed from this first collection. I’m very curious about, I don’t like people so perfect, I don’t like “beauty”, I like the human in all of us, that’s what touches you and what attracts me.

The cultural clash between Italy and Brazil is an interesting one. How do you think these two Latin locales are able to work together so effectively?
It’s funny because we’ve worked with the Roman Baroque. A very powerful aesthetic, and that’s the way we deconstruct the Roman Baroque with contemporary elements like razor blades, mosquitoes, you know a little bit nasty, because people realise, “oh! Gillette!”

Our universe tells histories, we are storytellers and people are always curious to the narrative in our objects.

Did you have any particulare ambitions when you approached the collaboration?
First of all, I had to consider how I would like to make it comfortable, the first shoes, the Baladina, a project from 10 years ago, we filled with space in order that the feet were not so warm. So, comfort, I wanted to make something comfortable. Because we started with uncomfortable [laughs].

Both you and Melissa are powerhouse design forces in Brazil, how would you say your creative collaboration with Melissa is able to flourish so well?
Most of our works are handcrafted, and with Melissa they have allowed us to be democratic, because there is always this demand in Brazil, “oh you should do something democratic”.

I think the Melissa collaboration allowed us to bring handcrafts to an industry level, we are very well known, as shoe makers in Brazil. All the girls love our work and are always asking what else we are going to launch. We have a big fan club in Brazil.

Throughout the new Barroco collaboration and in many of your previous works, you trace a stylised line through your origins in Brazil. What makes you want to track the origins of your background in your designs?
I guess Brazil is a new country that allows you to be crazy, in the sense of a positive way, and in a very bad way.

I guess Brazil is a bipolar country, completely ups and downs, so I guess this makes you alive, very ready to be prepared for a crisis, because since I was born, Brazil had had its ups and downs. This makes us very flexible, in terms of being prepared for the next thing.

Brazilian people are very sweet, very open, curious. And also there is a modernity. Artistically Brazil is very powerful in this very moment, especially Sao Paolo. I live in Sao Paolo and it’s not exactly an easy city, so that makes you need to find beauty, to construct beauty, inner beauty, in order to survive.

The inner beauty for me is to work with furniture, to create, make myself alive, not to be oppressed by cares.

by Liam Feltham

To find out more about the Campana Brothers go here

To find out more about Melissa go here

The post Interior designers the Campana Brothers collaborate with shoe-brand Melissa for Frieze first appeared on The Glass Magazine.

The Rodial Art & Design Challenge in association with London’s renowned Central Saint Martins College of Art and Design (CSM), has resulted in a beautiful, bespoke brush case, which looks likely to sell out fast.

Second year CSM BA Product Design students were challenged to create a bespoke case for the six make-up brushes available in the Rodial range. Paul De’Ath, Course Leader BA Product Design, CSM commented, “The students had great exposure to the criteria by which a strong brand like Rodial makes decisions, and Maria’s [Maria Hatzistefanis, the founder of Rodial] network allowed the students access to industry experts such as Erin O’Connor which really boosted their confidence.”

Rodial’s judging panel – which included fashion designer Henry Holland and model Erin O’Connor – announced Hong Kong national Aaron Chung as the winner in June, and his case is now released for sale.

Aaron Chung’s design is both beautiful and practical. Made from the same black faux-leather as the Rodial compact, the case holds the six best-selling Rodial brushes in individual pouches within a wrap. A fastening incorporating the signature Rodial R folds the soft case into a secure and compact shape when travelling with your full brush kit. Clever zip detailing means that each brush pouch can be detached from the case to be used individually – perfect when you wish to carry one or two brushes for touch-ups.

The case comes packed in a display box, making it an extremely desirable gift or collectable. If you are already a devotee of Rodial brushes, you now have the perfect tool to protect them – and if you aren’t, this case could inspire you to collect them.

Aaron Chung told Glass, “It is the first time I have designed a product for women, so it was a challenge to understand the user’s wants and needs. I also had to think about Rodial’s existing branding. My favourite details in the design are the Rodial ‘R logo on the case, and the way the zips allow flexible use, satisfying form and function.” After graduation Aaron plans to continue working in design in London.

Glass asked Maria Hatzistefanis what she had gained from the Art & Design Challenge, and what qualities made Aaron Chung’s design the winning one. Maria replied, “Rodial are passionate about future creatives and young emerging talent and were delighted to associate the Art & Design Challenge with Central Saint Martins.

“It was a big learning curve to work with emerging talent. When I work with the Rodial in-house design team, the process is straight forward, as the team follow the brand guidelines that have been in place since I founded the company. With the CSM students I was more specific about the brief and the branding parameters whilst allowing the students to express their own creativity. I definitely gained a new perspective during this process and found that I learnt new ways to attend to each detail.

“Aaron’s design combined both design and functionality while being original and very modern. We have experienced substantial excitement on instagram, the beauty counter in Harvey Nichols have been inundated with requests, and we have also had calls from makeup artists who are looking to secure a case. The response has been so positive that we started a waiting list ahead of the launch date.”

by Rachel McCormack

The Rodial Bespoke brush case (RRP £100) is available at the Rodial Counter, Ground Floor, Harvey Nichols, SW1 and will be available online here on  September 11.

The post Rodial launch bespoke brush case first appeared on The Glass Magazine.