Suzy featured in last Saturday’s Times Magazine. Entertaining her closest girlfriends, she treated them to homemade delights including a mushroom torte and chocolate mousse cake, all served in style at her west London home. Click here to read the article.
We need be nostalgic for Tom Dixon’s Jack light no longer. This ‘sitting, stacking, lighting thing’ has always represented the early 1990’s design boom to us; a cool, contemporary form and straightforward (plastic) manufacture. The Jack has been reintroduced in its original form for a new generation – it still does all the same things but these days is a ready-made piece of furniture history.
One of London’s most beautiful homes has re-opened its doors after a lengthy restoration. Leighton House is in Holland Park, just around the corner from Hoodless HQ, so we don’t have to go far to ogle at the amazing interiors. The lavish house was the home of famous Victorian-era painter Lord Frederic Leighton and was designed for him by architect George Aitchison. Opulent and beautiful – the house provided the backdrop to Leightons romantic paintings. It was even home to the real Eliza Doolittle – one of Leightons models; Dorothea Dean.
If only we had the time to carry out a Vitra-esque colour lab. A few years ago top designer Hella Jongerius was commissioned to carry out an extensive and thorough colour workshop – it involved researching the way we use colour in our homes and what we think looks like lots of fun experiments with colour, material and texture. Jongerius reached some profound conclusions about furniture, interiors and colour, amongst them; ‘Whilst the idea of beauty and ugliness does not play a role in nature, this is an important factor in our wardrobe and interior. Such judgments seldom or never concern a colour on its own, but practically always the combination of colours.’ The lab resulted in an undoubtedly fresh and exciting palette for Vitra. Wouldn’t it be great if all design manufacturers did the same?
After the 49th Milan Salone del Mobile came to a close, our minds turned to all things Italian. We should have taken with us Bruno Munari’s classic book ‘Supplement to The Italian Dictionary’ with us. The stark, graphic photography has helped make this little book an iconic piece of 20th century graphic design. In it Munari explains the meaning behind certain Italian hand-gestures. We hope we don’t get given the ‘Che Peso!’.
New French design brand Mr Moustache had us at ‘hello’. Their first collection included works by a great roll-call of young design talent; Inga Sempe pleated paper lanterns, Big Game created a cartoon-like chair, Matali Crasset went for ease with her series of trestle tables. And everything was showed-off beautifully in their stunning brochure. Now Moustache are set to launch their second collection – we’ve seen some of the new pieces and can confidently say that they aren’t a one-collection wonder!
Stopping by the exhibition of Kenneth Grange’s work currently showing at Margaret Howell led us to ponder why this great British designer simply isn’t more revered. His re-issue of the Anglepoise lamp is a contemporary classic but Grange is to be thanked for such icons as the London black cab and Parker pen too. Grange’s superior industrial design is surely ready for another look.
