IT'S THE OP­TI­MISM AT THE HEART OF THE 1970S LOOK THAT'S THE HERO IN THIS 2018 REIMAG­IN­ING

Volup­tuous pro­por­tions and play­ful shapes pro­vide an al­most hu­man em­brace of com­fort and soft­ness from marsh­mal­low-like arm­chairs to roly poly side ta­bles.

VOGUE Living Australia - - IN VOGUE -

‹‹ dis­pose’ econ­omy, it em­braces re­gen­er­at­ing prod­ucts to create less waste); Eind­hoven-based de­sign group Dutch In­ver­tu­als part­nered with London-based FranklinTill in Mu­tant Mat­ter, an ex­plo­ration of the ‘re­made’ ma­te­ri­als of the fu­ture; and on a more po­etic level the light­ing of Giopato & Coombes in­ter­twined brass bees, forest crea­tures and del­i­cate ten­drils of lichen in its col­lec­tion, Su­per­nat­u­ral Day­dream.

Tech­nol­ogy ad­vanced its march of seam­less in­te­gra­tion into our lives, too. There was Kartell’s hy­brid I-ta­ble, de­signed by Piero Lis­soni, which trans­forms from desk to cook­top, and Google’s Softwear ex­hi­bi­tion cu­rated by leg­endary Dutch trend fore­caster Li Edelkoort and shown at the equally leg­endary Ros­sana Or­landi Gallery.

The in­flu­en­tial Or­landi also made an im­pact at the Aus­tralian group show in Mi­lan’s 5 Vie district. Num­ber­ing 26 de­sign­ers it was the big­gest ever col­lec­tive of Aus­tralian cre­atives show­ing un­der the ban­ner of Lo­cal De­sign, lead by the inim­itable Emma El­iz­a­beth. If 2017 was the year Aus­tralian de­sign fi­nally came of age then 2018 is the year it stepped right into the spot­light. In­side the el­e­gantly de­cay­ing palazzo hous­ing Lo­cal De­sign’s ex­hi­bi­tion, the at­mos­phere was pure rock ‘n’ roll. The cream of Aus­tralia’s de­sign scene ca­su­ally lounged out­side on the bal­cony, while in­side vis­i­tors me­an­dered through rooms of fur­ni­ture and light­ing ex­plod­ing with colour and con­fi­dence. It was this at­ti­tude that ap­pealed to Or­landi, who dropped in to pick up a Christo­pher Boots ox­i­dised pen­dant light and a colour­ful Sag­i­tine stor­age stand to add to her epony­mous gallery. “It was so sur­real,” says El­iz­a­beth. “But I think the fact that there were more than 1300 Fuorisa­lone ex­hi­bi­tions through­out the city, and Ros­sana chose to come to ours, was the best way to fin­ish a very sleep-de­prived and in­tense week.”

Studiopepe’s in­stal­la­tion, Club Un­seen

Dri­ade

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