Milan 2010 Report by Mariel Brown and Zoe Stavrou from the trends and strategy team at global

design and innovation company Seymourpowell.

This April we once again joined the multitude of design lovers (a record 329,563 visitors) heading to Milan for the 32
nd

edition of the International Salone del Mobile. Little did we know

that an untimely volcano eruption would mean our stay would be an extended one! So with all that extra time to look around the fair, what trends did we find? This year we observed a gentle progression and softening of last years crunched themes and a growing sense of both nostalgia and the need for escapism. What felt particularly positive about the show was the level at which designers and manufacturers across the board were engaging with the issue of sustainability. Contemporary Classics The utilitarian trend of the last few years has been noticeably softened. An accomplished example of this was Partricia Urquiolas Klara armchair for Moroso. The design works on a simple, linear aesthetic that is harmonious in its curved yet essential shape, which is reminiscent of the first serial productions of the early 20 century. Another elegant example of this trend was the Bessy lounge chair by Stefan Diez for German brand E15. Made of oak-veneered plywood with a simple fabric cushion this armchair is a modern interpretation of a classic lounge chair that has an enduring almost timeless appearance.
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Blow Up Forms that appeared to have been blown up were seen in many guises throughout the fair. An innovative example of this was Marcel Wanders Sparkling chair for Italian manufacturers Magis. The product is made of transparent plastic (PET) and is produced using the same blow moulding technique commonly used for bottles of water. By using this technique Wanders kept plastic usage to a minimum and the result was a chair that only weighs in at around 1kg. British designer Tom Dixons new Void Lamp has a similarly turgid form that allowed him to innovate with the quality of light that the lamp gives off. Its spun double walls reflect and soften

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the light emitted from a concealed halogen bulb. Established & Sons collaborated with Italian glass company Venini to give the tradition of glass blowing an exciting contemporary refresh. One such project was the Print Lamp by Sylvain Willenz. The Print Lamp gathers within a single bubble of blown glass components usually found as separate items in pendant lighting. The shade, the colour, the reflector and the diffuser have effectively all been produced within one elegant gesture. A personal favourite from the Established & Sons and Venini collaboration was the Bouroullec Brothers Lighthouse Lamp. Here the emphasis was on creating a sense of vulnerability. The idea was to light up a voluminous round glass structure that would be supported by a delicate aluminium stick. Retrographic One the most distinctive themes to emerge this year, was the use of graphics and geometric patterns, coupled with a distinctly retro colour palette. With their Paper Plane chair Nipa Doshi and Jonathan Levien skilfully combined shades of mustard, grey, black and beige and a gridlike surface pattern with a subtle pinstripe of metallic thread. Although not initially noticed, this gave much delight to passers-by as the light bounced off the thread, turning heads with a subtle shimmer. Other standout pieces include Patricia Urquiolas Silver Lake collection and Redondo sofa for Moroso. Again shades of mustard, brown, maroon and grey dominated but with flashes of terracotta, white and yellow. Both pieces were treated very differently: Redondo exuding softness with its quilt-like surface detail and cocooning form, and the Silver Lake collection a more geometric aesthetic. The contrasting use of materials was particularly noted, as on walking around the collection, different side panels of wood, fabric and leather were revealed nicely accented by the highly coloured structural framework. Quirky pieces such as the Amsterdam Armoire by Scholten & Baijings, was inspired by typically Dutch design but with a twist. The proportions of the piece and the spherical feet made from pink glass, coupled with the use of pastel shades and a geometric surface pattern had a flavour

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of Ettore Sottsasss 1980s post modernist designs for Memphis, as did the Phase Bureau by East Londons Patternity and furniture designer Toby Winteringham. Their collaboration on the Phase range of furniture debuted at the Salone Satellite this year, fusing bold pattern with traditional marquetry.

Knit one, Purl one Where weaving had captured many designers imagination last year, this year knitting and wool made a comeback adding cosy warmth to a number of pieces. The Mangas Naturales rug collection by Patricia Urquiola is a lovely example of this trend Mangas (engl. Sleeves) is based on a patchwork of different wool knits, to create a collection of various typologies with different shapes, going from Manga corta (short sleeve) to Manga de campana (bell-shaped sleeve). The result is a series of eight enchanting carpets with a wonderful variety of textures and colours. Charmingly imperfect could be one way of summing up the suitably named Granny pendant lamp by Australian design group Pudelskern. Each Granny is hand knitted from Tyrolean sheeps wool and is signed by the designer. Equally quirky was Bertjan Pots Jumper chair for Established & Sons. Jumper consists of one continuous oversized woollen knitted cover that is created on a Knit and Wear machine usually used for producing garments. The resemblance to a jumper is completed by the addition of buttons that fix the cover on to the underside of the chair. Interestingly, wool was not just used to idiosyncratic effect by designers. Bonbons by promising young Serbian talent Ana Kras is a sophisticated family of lamps created from wool leftover from a collection by knitwear company Ivko-knits. The wool was wrapped around coated steel wire frames to stunning effect. Back to School Bringing a nave and playful charm to this years show, many pieces possessed a 'classroomlike' quality. Utilising a colour palette of primary colours and simple, pale woods, many pieces

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referenced the archetypal forms of things that could be found in the classrooms of our youth. Although appearing in the first instance very simplistic, many of the pieces had a cleverness to them, whether that be in the method of manufacture or the way in which they can be used. The JWC2 (Just Wood Chair 2) by Florian Hauswirth for design collective Postfossil is an evolution of his previous work, which uses an innovative wood joining technique. The chair consists exclusively of wood and does not require glue in its assembly. Instead, the heat generated by inserting the dowels releases adhesives present in the wood itself, forming a substantial welded bond in seconds. Stefan Diez's modular and stackable storage system New Order for Established & Sons comes in a selection of primary colours and has a powder coated aluminium exterior. The practicality of the piece was undeniable and had all of us instantly contemplating the many ways in which we could use it in our respective homes.

Primal The force of nature was felt at this years show, and not just because of the Eyjafjallajokull glacier eruption, many designers took the idea of nostalgia to the extreme finding inspiration in the early origins of man. At Edras The Barbarians show The Campana Brothers displayed their usual confidence in form and material exhibiting some bold new pieces. Cabana in particular caused a stir. Reminiscent of a strange creature this piece is in fact a storage unit entirely concealed by dangling lengths of fire-proofed raffia! The brothers new table entitled Cotto, had a similarly assured aesthetic. It is comprised of a stainless steel structure and legs with a thick aluminium top. The tabletop is set with eight large, variously shaped, and textured pieces of treated terracotta that speaks of the Etruscans. French design brand Moustache launched their second collection of furniture at this years show and Matali Crasset caught our eye with her new piece called Instant Armseat. The Instant

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Armseat is a wooden chair with one armrest (large enough to place a glass on). The seat can be transform into a bench joining two Instant Armseats together. What felt particularly fresh about this design was the Pyrenees sheepskin that was thrown over each chair to add comfort. The aesthetic was reminiscent of a nomadic lifestyle where evenings are spent under the stars huddling next to a campfire for warmth. The great outdoors were also reflected in Gita Gschwendtner Quarry and Soft Crystal Series at the Swarovski Elements at Work exhibition. Here rock formations were channelled as she cast a plaster and resin mix as a stool and low table, with a broken away, but crystal-sprinkled corner that created beauty from imperfection. Ethereal Immersive, otherworldly atmospheres were a noticeable theme throughout the fair. All at once meditative and transcendent, the Toshiba Lucste lighting installation had the crowds sighing with wonderment. A ceiling-mounted LED installation diffused light through a veil of swirling mist to suffuse the exhibition space with a spectrum of growing colour, proving that low energy lighting can be used to great effect. This year, Swarovskis Crystal Palace installation really captured the crowd's imagination. Inspired by the theme of 'palaces', five designers were commissioned to present their interpretations. Inspired by The Northern Lights, Rogier van der Heide's Dream Cloud sees crystals that seem to be magically suspended in the air, shimmering in the darkness. Yves Behar also embraced the use of low-energy LEDs in his piece entitled Amplify - a series of deceptively simple paper lanterns shaped like crystals, within which light was refracted from a real crystal, casting its patterns on the surface of the paper. Bhars design was created with a focus on sustainability and affordability, featuring a faceted shade made from recycled materials, one crystal and one low-energy consuming LED light. The design featured 6 different crystalline shapes in varying sizes, which could either be used individually or clustered together to striking effect.

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One of the stars of this years show was Tokujin Yoshioka, with much of his work possessing an ethereal quality. The Kartell store featured an installation by the designer, presenting his range of one-off chairs entitled The Invisibles. A forest of suspended crystalline shards of polycarbonate provided the perfect backdrop to the chairs each of them possessing all at once the lightness of total transparency and the solidity brought by the thickness of the material. For his Swarovski Crystal Palace installation, Yoshioka created a large globe encrusted with Swarovski crystals and lit from within by LEDs. Hanging in the centre of the room, it bathed everything in a soft and hypnotic light bringing depth and intrigue to its accompanying piece: another globe suspended in a tank of water, on which crystals grew naturally. Conclusion In spite of the volcanic plumes threatening our return, this years Salone still managed to make a lasting impression. Many of the pieces were the evolution of work seen at previous shows, proving that some trends are very much here to stay. In a climate where tender green shoots are emerging from the recession, pieces that inspire nostalgia, transcendence, confidence and monumental power are the ones that will connect on a deeper level and prove to be the ones that will go the distance. For further information contact: Tim Duncan PR Global, Seymourpowell Email: tim.duncan@seymourpowell.com Tel: +44 (0) 20 7386 2369

About Seymourpowell the shape of things to come Seymourpowell is one of the worlds leading design and innovation companies. Founded in 1984 by Richard Seymour and Dick Powell, the London-based group of award-winning designers has produced some of the milestone products of the last two decades. The company is now part of the Loewy Group. Seymourpowell is currently 80 people, combining a design studio, research centre, materials library and prototyping workshop. Seymourpowell has a unique holistic approach to design and innovation, which combines in depth experience and up to date intelligence about people, markets and businesses. The company has the ability to forecast and interpret the vital implications of behaviors and work out future scenarios to give its clients the confidence and reassurance they are making the right decision.

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Seymourpowell is skilled in exploiting ideas that create real value and always look to move clients forward creatively. Seymourpowell is not just a company of visionary thinkers, but future doers. Ultimately, Seymourpowell is about making things better: better for people, better for business and better for the world. Specialisms include design innovation, transportation design, ethnographic user research, strategy and new product development (NPD), trends and forecasting, product design and development, 3D structural design and 2D graphic design