ELLE Decoration (UK) - - Now -

Cre­ative di­rec­tor Jor­dan Mould talks us through the win­ning de­signs, which cel­e­brate 1970s glam­our

Over the past nine years, Kirkby De­sign has made a name for it­self with fab­rics that of­ten nod to retro op­u­lence. The lat­est col­lec­tion, ‘Arco Geo­met­rics’, fea­tures ar­chi­tec­tural ref­er­ences gleaned from trips to Mi­lan and Lon­don, which have been trans­lated into pat­terns such as ‘Mir­ror’ (shown on cush­ions, above), with its dis­tinct 1970s feel. ‘It is half matt and half shine,’ says Mould of the fab­ric, which can be used for up­hol­stery and cur­tains. ‘ We added satin vis­cose with a lus­trous me­tal­lic ef­fect to sub­tly con­trast with the cot­ton, which means it catches the light re­ally well. We like the use of ac­tual met­als in in­te­ri­ors, and “Mir­ror” ties in nicely with that.’ De­scrib­ing the ELLE Dec­o­ra­tion Bri­tish De­sign Award as ‘an hon­our’, he be­lieves that it is im­por­tant for the com­pany to con­tinue to push bound­aries within the in­dus­try. ‘ We don’t want to rest on our lau­rels; we try to keep the brand fresh and bring some­thing new to the mar­ket­place.’ This love of in­no­va­tion has fu­elled col­lab­o­ra­tions with the likes of Eley Kishi­moto and Tom Dixon (for the lat­ter, at 2018’s Lon­don De­sign Fes­ti­val, Kirkby De­sign ma­nip­u­lated pho­to­graphs of tex­tured sur­faces, such as foil and hair, into five hy­per-re­al­is­tic de­signs dig­i­tally printed onto cot­ton vel­vet and scoured linen). As for 2019, ex­pect ‘tex­tu­ral de­signs in the spring, fol­lowed by colour­ful, bold pat­terns’. kirk­by­de­sign.com

This de­signer’s colour­ful, Nige­rian-in­spired de­signs wowed us with their joy­ful sto­ry­telling

Yinka Ilori be­gan up­cy­cling chairs nine years ago for a univer­sity project in­spired by Martino Gam­per’s ‘100 Chairs in 100 Days’ (for which Gam­per re­vi­talised 100 old bro­ken chairs). Since then, each of his chairs – iden­ti­fi­able by their colour­ful painted legs and Dutch wax fab­ric seats – has been given a para­ble-themed nar­ra­tive. Yet while th­ese pieces have be­come his call­ing card, the past year or so has been a turn­ing point for Ilori, who is now in de­mand for larger-scale ar­chi­tec­tural projects. ‘My back­ground is fur­ni­ture mak­ing, but I want to cre­ate more con­text,’ he ex­plains, cit­ing as ex­am­ples his ‘Es­tate Play­ground’ in­stal­la­tion at the en­trance to the Ci­ti­zenm ho­tel in Shored­itch – based on child­hood mem­o­ries of a Lon­don play­ground – and an­other at the Africa Cen­tre, where four sets of stairs rep­re­sented dif­fer­ent walks of life. The next 12 months looks set to be just as busy for the de­signer. Not only has he won an ELLE Dec­o­ra­tion Bri­tish De­sign Award but, to­gether with Price­gore ar­chi­tects, he has won the com­mis­sion for ‘The Colour Palace’ – the sum­mer’s Dul­wich Pav­il­ion, which is in­spired by tex­tiles in Ba­lo­gun mar­ket in La­gos. Plus, he will be reimag­in­ing Bat­tersea’s Thes­saly Road rail­way bridge into an in­ter­ac­tive space called ‘Happy Street’. ‘My de­sign is based on re­search I did into how there are 16 types of hap­pi­ness,’ Ilori says. ‘I want to use colour as a cat­a­lyst to make peo­ple feel good.’ yinkailori.com

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