THE SUITE LIFE
Objects of Desire
The most wonderful pieces from this year’s Maison & Objet; smart home essentials to enjoy indoors; elegant teaware from TWG
Months leading to its commencement, everything that Cecile Geiger needed for the fair was ironed out to her specifications—and of course, the requirements set forth by Maison & Objet. “Most designers and brands prepare for a very a long time for the event. Some of us devote longer periods for conceptualization and creation of prototypes. Then, there is also the production of the actual items to be displayed,” she shares. “Apart from that, there are logistical concerns such as how to get the items to the venue, and how to make sure that they get there unharmed,” she continues. Geiger is a French metal sculptor who is inspired by nature. She keeps a studio in Beurizot in Côte-d’Or. “Every time there is a design exposition like Maison & Objet, the energy in Paris as well the other places near the center especially the venue is just remarkable!” she exclaims.
This time around, however, that energy that celebrates—and is almost as emblematic as the decadence of the French Capital’s signature aesthetic—will not be there. At least, not physically.
Immediately following the amalgamation of its predecessors, the fair Maison & Objet started out to be an experimental solution aimed to address the growing challenges of shifting distribution models and internationalization. To say that it has been the most fertile ground for the design community’s growth both in design sensibility and commerce for the past 25 years would be a grave understatement. It has catapulted the careers of the likes of furniture designer Ilse Crawford, industrial designer Cecile Manz, Singapore-based architecture firm WOHA, and Sebastian Herkner. Some of the most globally recognized luxury powerhouses that also have home brands such as Missoni, Fendi, Louis Vuitton, and Hermés use the platform to introduce their new designs.
As agility, persistence, and innovation are deeply embedded into its brand DNA, Maison has successfully reinvented itself at a time when other established expositions of its kind have succumbed—either temporarily or permanently, to the perils of the existing global health crisis. In April 2020, the fair reported 80% space reservation for the September Edition. However, as different nations tread along the embattled path in search for certainties and absolutes during the past three quarters of the year, certain adaptive measures were put in place so the event can still be mounted. Through its managing director, Philippe Brocart, Maison decided to transition the event to the digital sphere. It shall utilize its signature online platform Maison & Objet and More (MOM). “Our teams have spent the past few weeks shaping out plans that will allow brands to present their new collections and continue engaging with buyers and specifiers,” he states. While Brocart remains steadfast that the present condition will soon get better, the organization decided that it is best to uphold safety and precautions. “There is also the lack of clarity regarding the ability to hold large gatherings in early September in France,” he furthers.
THE NEW MEDIA FORMAT
Design is never just a visual rapport. The experience is a complex concoction carefully blended with the perfect amounts of stimulus, timing, and yes, emotions. It would be fairly easy for the pragmatists of traditional media to enumerate the disadvantages of mounting the event using available technology. When a design event is conducted virtually, the experience of the attendees will be pretty much dependent on how the items are photographed. While the latest gadgets are equipped with multi-touch gesture like the pinch-to-zoom feature so you can examine products up-close, the usual sigh that accompanies the sensation brought about by the feel of an exquisite fabric, for instance, will not be present. Tactile receptors will be kept to either the mobile screens or the keyboard.
However, Internet embeddedness has become undeniably more pronounced especially so over the course of the past decade. Technology has found its way to be deeply ingrained in culture and is continuously reshaping communication paradigms and altering consumption behaviors. According to the International Post Corporation, the e-Commerce industry posted a 23% growth in 2017, accounting for one-tenth of total retail sales worldwide. At the time where socializing poses a high risk to health, the new media format satisfies the public’s need for surveillance through online information and buoys the economy through digital retail channels.
KINDRED: THE PHILIPPINE PAVILION
Digitally, the opportunity for quality engagement is very much present. But the challenge lies in crafting a good customer experience by making it worthwhile, stimulating, and relevant. Plans and efforts are in place to establish the continued visibility and reach of local products in the global market. MOM’s online traction will grow the audience for Philippines’ design and lifestyle exports.
The Philippines, with its recognized and almost customary exposure to international design fairs, understands the pulse of the contemporary buyer. In 2018, the country generated more than 800 inquiries that translated to over US$1.8 million export sales. “The country has been taking part in Maison since 2013, excluding 2015,” says Rita Nazareno, one of the Philippine curators for the event. “This upcoming edition would mark our seventh participation,” she continues. Nazareno and Gabby Lichauco lead the creative team and provide artistic support to the participating brands.
Dubbed “Kindred,” this year’s representatives are made up of like-minded designers of the new generation—Albero, Chanalli, E. Murio, FInali Furniture, Indigenous, JB Woodcraft, Nature’s Legacy, Prado Filipino Artisans, Prizmic & Brill, Red Slab Pottery, Venzon Lighting and Objects, WeaveManila, Zarate Manila, and Zacarias 1925. These brands were screened with the help of both Nazareno and Lichauco.
KEEPING UP WITH THE TRADITION
The fact that it has long perfected the art of striking a balance between the presence of old and the arrival of new, it should come as no surprise how Maison expertly revels with the established while it takes pride in being a potent vessel for discovering future design geniuses. It is not unusual to find names such as Marc Newson, Patricia Urquiola, and Tom Dixon alongside fair first-timers.
Despite the novel structure, the fair intends to uphold its tradition of supporting the design community, updating its audience with the latest innovation and practices, and honoring outstanding personalities. This year, French architect Franklin Azzi joins a stellar and exclusive club of previous winners, as the fair names him Designer of the Year. An alumnus of École Spéciale d’Architecture, he has a profound and intuitive connection to the City of Lights. One of the most notable projects under his belt is the redevelopment of the Berges de Seine. The project turned the riverbanks into a place where members of the community can have activities of leisure and display a cooperative spirit.
Just like in the past, Maison will also be presenting an exceptional lineup of talks with the most revered creative personalities, trendsetters, and other professionals. “Online conversations, articles, product selections, and interviews—either in podcast format or streamed live, will offer the latest analysis and insights,” says Sarah Hamon of S2H Communication. “There will be a notable focus on how the home has become a veritable refuge brought about by the recent global events,” she continues.
DESIGNERS TO WATCH OUT FOR
For design editors and writers, a fair like Maison presents a chance to socialize with colleagues from different parts of the world— some are planned, while some are, well, brought about by circumstances and probabilities; but nevertheless, chance encounters are as endearing. Yet, nothing compares to the sweet task of keeping an eye for emerging trends, materials, or colors, and getting to know the pioneers of these designs. And with the socializing part conspicuously absent, more time can be devoted for the other task.
There is a new found interest to those who mark the end of a restrictive pattern with their
new models of thought and surprising take on contemporary beauty. Sustainability and designs that promote total well-being and safety will undeniably have a huge market, but those who are able to inspire will certainly take up space. These designers display tenacity and an unsullied knowledge of their chosen materials.
Handcrafted in Belgium, AP Collection presents a continuation of the designers’ love story for each other. The duo, Alexis Verstraeten and Pauline Montironi, transforms furniture pieces with the narratives of emotions deeply rooted in attraction and romantic pursuits. The results are uniquely soft chairs, stools, benches, and poufs that catch the eye and warm the heart. “We break the codes by offering something special,” says Verstraeten. “The world economy has been rapidly shifting from a structure in which a few geographic centers dominated world trade to a more complex, multi-centered structure. It is vital that we reexamine what is important to us as designers,” he furthers.
Opposite the texture continuum is Zarate Manila’s affair with industrial materials, giving them an optimistic and organic appeal. “It is very crucial to be thoughtful about material quality and manipulation,” says Jim Torres, the brand’s creative director. “With thorough knowledge about materiality and using unpredictable approaches, we are able to take away the ascetic character of metal,” he furthers. Torres’ Maison debut campaign, Villa by Zarate Manila, is his testament to global design using local craftsmanship.
Japanese designer Yuri Himuro displays her ability to tell a riveting story using threads. Through Himuro Design Studio founded in 2018, she is able to foster an astounding interaction between people and textile. Meanwhile, Studio ROOF from The Netherlands,
goes all out graphic while it continues to discover ever more possibilities with its chosen medium—the paper. “We’ve been working with paper eversince we started, and we continue to discover ways on how to utilize it to serve the changing needs and tastes of the design market,” says Romy Boesveldt, creative director for Studio ROOF. Inspired by the unadulterated happiness, innocence, and vivid imagination associated with childhood, Boesveldt, together with his wife Ilya Yashkin, transports the spectator to a time where fantasy was real.
Ibride Design shares its passion for the rare with the French market and the world since 1996. While it exercises veneration to functionality, it is never afraid to push the boundaries by adding elements of humor and whimsy. French designers Benoit and Rachel Convers reinterpret the codes of furniture design to breathe new characters to usual home implements.
True, this transition to a new platform is a trial of sorts for Maison. As it is, it may unearth more challenges that what might have been previously anticipated, but design, like technology, does not rest. And if going digital is the wave of tomorrow, then tomorrow just arrived today.