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modern world<br />
best in show<br />
Young lauched his EOQ line<br />
at New York’s International<br />
Contemporary Furniture Fair,<br />
showcasing material-driven<br />
pieces like the Shindo chair<br />
(left), $2,775, a lightweight<br />
creation made from 20 layers<br />
of carbon-fiber twill weaves.<br />
Chelsea Boy, a protoype<br />
gin-and-tonic glass (below)<br />
dedicated to his late friend,<br />
designer James Irvine, was<br />
presented at Bar Basso during<br />
the Milan Furniture Fair.<br />
work, and technology’s getting more<br />
sophisticated. This is really a very good<br />
decade for design.<br />
“History informs you more<br />
than the future. I don’t<br />
know what the future is.”<br />
—Michael Young, designer<br />
Do you think this collaboration runs the<br />
risk of everything looking too similar?<br />
There’s definitely a danger of that. How do<br />
you differentiate with chair design any<br />
longer? There are so many chairs on the<br />
market. I don’t think it’s about making a<br />
difference. It’s about evolution, really. I<br />
think a lot of the things that Kartell and<br />
Vitra and Magis are doing are showing that<br />
level of poetry, using new technologies<br />
to repeat history.<br />
Are manufacturing processes where<br />
furniture design can evolve the most?<br />
Yes. In many ways, most things have been<br />
done before, and it’s technology where you<br />
can make that small change. At the end of<br />
the day, furniture really shouldn’t look like<br />
it belongs in a spaceship. I love warm,<br />
authentic aesthetics. I guess the Coalesse<br />
chair is a fairly modern take on a chair, but<br />
it’s got its market segment, and that’s it. We<br />
know the market exists for that particular<br />
chair, so that’s why it was designed.<br />
50 SEPTEMBER <strong>2015</strong> DWELL
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