It might not be a totally new notion, and hopefully it will continue to increase in frequency, but I really noticed a growth in the number of exhibits of materials designed or used by designers in collaboration with the material manufacturer. The idea of turning to a creative mind (or minds) to utilise materials is a canny one.
On the one hand, such a relationship offers the material manufacturer the chance to bask in the reflective glow of designers, who, if not already an established international ‘name’, will seek to challenge and expand the potential applications of the materials.
On the other hand, it does conversely offer designers a supply of material and with it the freedom to experiment and create outcomes that they ordinarily would not necessarily have the chance to produce. Not to mention the fact that they too get invaluable brand recognition and (hopefully) a fee for carrying out the project.
This year also saw the launch of a new collaboration between two of our materials friends, Soloman & Wu and Studio Ilio & Martijn Rigters, that has the potential to usher in a new form of collaboration between established manufacturer and designers, with longevity at its core.
We showed one of Kit’s beautiful rugs designed for Mooi back in October at the Surface and Materials Show, but at the ever-impressive Mooi showing in Tortona, Kit’s illustrations were literally underfoot at almost every single turn.
Anchoring an array of darkened, insect-themed room sets, Kit’s designs offered the perfect balance of pattern and colour on which to position Mooi furniture classics.
As one of those aforementioned international ‘names', the output of Jaime Hayon can generally be found scattered across the city like an early Easter egg hunt, with big brands looking to work with the Spanish designer who continues to prove to be one of the most distinctive and unwaveringly playful on the planet.
His installation Stone Age Folk made of engineered quartz from Caesarstone didn’t disappoint. Taking 40 of the brand's coloured surfaces, Hayon created an architectural pavilion that evoked cathedrals, Crystal Palace, flora and fauna as well as his now trademark clown designs, all of which were contained within a black metal framework that also included coloured glass.
Materials are at the core of design duo Laetita de Allegri and Matteo Fogale ’s ethos and collaborating with leading material manufacturers is not a new thing for them. Having teamed up with Johnson Tiles in 2015 to create their original Mise-en-abyme tunnel at the Victoria and Albert Museum they joined forces with stone supplier Casone Group at this year's show.
By bringing together contrasting Yellow Siena marble and Noir Doré, they were able to create an impressive mausoleum-like space with graphic stripes, geometric shapes and leafy forms that conjured the appearance of a three-dimensional interior cast by shadows.
For their second Milan outing, experimental Dutch collective Envisions actually took the initiative in approaching Spanish wood manufacturer Finsa to work with. The 13 strong group of inventive designers set out with a similar brief as before; to work with materials, in this case Finsa’s selection of wood-based products specifically, with an emphasis on experimentation and discovery over finished product.
The stimulating offering of multiple samples showcased a true consideration of the relationship between materials and processes where the tried and tested were turned on their head through creative tinkering and fresh alternatives to materials, including chipboard, MDF, veneer and melamine.
Another second edition of a Dutch design collective showing in Milan saw six practices converge under the Transitions banner, in their case working with the myriad of sheet materials available from fellow Dutch brand, Baars & Bloemhoff.
Materials including a number of Finsa wood products, LG Hi-Macs, Forbo Desktop, Duropal and Decospan veneers were shaped and formed to create constructed products including cupboards, seating and lighting – all of which once again questioned and worked with the unique properties of the materials.
Technically, this coming together spans further than just supplier and designer. In producing their first ever product that is aptly called Solid Textile Board, Really worked closely with fabrics manufacturer Kvadrat.
Focusing on end-of-life textiles Really is intent on changing the mind-set of design and architecture industries by reconsidering how we use resources and to promote circular economies where materials can be endlessly up-cycled rather than recycled a finite amount of times.
In order to show the capabilities and sheer versatility of this fledgling material, Really employed the pioneering mind that is Max Lamb , who in turn created a series of three-dimensional objects, including an array of bench and table forms.
As mentioned, the final standout collaboration from across the show (that I saw) was between our old friends Solomon & Wu and Fabio Hendry (of Studio Ilio ) and Martijn Rigters , all of whom we also showed at the Surface & Materials Show last October. With the latter we chose to focus upon their newest material, which now goes under the title of The Colour of Hair .
Fusing real offcuts of hair onto metal sheets through the application of heat creates a protein based printing medium whereby patternation can be achieved with ease.
The collaboration here is slightly different as it involves another more established manufacturer in the shape of Solomon & Wu but in many ways it makes it one of the most exciting in that due to the scale and capability of the much larger S&W team, the already amazing materials can be made at a greater volume and now even onto other metals such as brass as well as steel, meaning we should hopefully be seeing a lot more of it in the future!
Keep your eyes right here for more of my Milano 2017 picks across the rest of the week, next up are best lighting, furniture and spectacle piece!
