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Apres Planet July 2018

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2<br />

Breaking<br />

Pointing the way forward<br />

3boundaries<br />

Pointing the way<br />

forward<br />

6<br />

7<br />

Matches made in heaven<br />

Make a bee-line for Cane-Line<br />

9<br />

12<br />

A note by Charles<br />

Dare to be bold<br />

15<br />

Objects of desire<br />

Anyone looking for a clear and<br />

unequivocal answer to the question<br />

“what approach will design take in <strong>2018</strong>?”<br />

within the context of the great Salone<br />

Internazionale del Mobile di Milano or the<br />

Clerkenwell Design Week would have been<br />

surprised.<br />

There was no one single approach, but<br />

many different, if not radically different,<br />

design approaches. In fact, one could<br />

attempt a play on words, to the effect that<br />

the lack of a well-defined trend should be<br />

seen as the driving trend.<br />

Unless we missed a major part of the<br />

exhibitions where trendsetters all work<br />

around the same theme (as what<br />

happened with height-adjustable desks at<br />

Orgatec a few years back), it is fair to say<br />

that this is an observation that has been<br />

made more and more over the last couple<br />

of years – despite numerous attempts to pin<br />

new “-ism” labels on things, this has simply<br />

not happened.<br />

There have been many and varied styleapproaches<br />

in <strong>2018</strong>, from organicism to a<br />

return to the classic, a search for purity or<br />

fantasy and, within each different strand,<br />

there are designers from the most diverse<br />

cultural and geographical contexts. This<br />

sends a clear message that creatives<br />

all over the world are guided by their<br />

“reference tribes”, moving endlessly around<br />

a global market in which localisms appear,<br />

from a creative point of view at least, to be<br />

on the wane. The definitions that attempted<br />

to identify “national styles”, postulating<br />

Italian rather than Scandinavian or German<br />

design, now appear meaningless.<br />

Despite this seemingly “directionlessness”,<br />

one has to admit that the possibilities<br />

that design free from a specific school of<br />

thought is something to look forward to...<br />

2

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