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Posted: GauraStyle Date of post: 30.06.2017

Dutch designer Cox Janssens graduated last year from Design Academy Eindhoven. She has created things as long as she can remember: Instead of diminishing clothes, she turns their change into something positive. Textiles become more interesting through processes such as washing, surface friction and color change by sunlight.

With this, the consumer is tempted to use them longer. The idea was born three years ago. I can feel very guilty and responsible towards things. The overall idea in society is that something looks best if it looks like new with some exceptions of course.

So mostly, traces make things less attractive. To spread the idea that sustainability can be fun. This project can be an inspiration for both consumers and companies, to see that there are various nice notions of durability. It would be great to make this accessible for many people. Do you think the textiles of this project could be used for mass-production in the near future?

I would like to develop this project further, make it easier to produce and super sustainable. To achieve that I need investors and partners from the industry, so unfortunately this will not be in the near future but I am working on it.

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Nevertheless, I hope some will see change as a quality; to make people dare to use it with pleasure. How would you describe yourself as an artist?

As an artist I treasure diversity and my broad interest and need to be socially involved are bringing me that. Furthermore, I like to observe human behaviour, question norms and see paradoxes. In my work I use humour and make unexpected connections, to show different sides or positivity in something that is known for the opposite.

I create better things through discussions with other people and highly believe in unusual collaborations between the creative industry and other industries. David Bowie is a creative I admire because during a lot of experimentation he was still able to deliver qualitative, characteristic music. He was curious after other professions and unusual collaborations and used this for music videos and album covers. For this project I worked together with psychologists to create a set of cards that can be used as a conversation tool to talk about norms and desires around having children.

I visualised about hundred motivations for having or not having children. The cards help to distinguish your own desires from those projected by outsiders.

I am now part of a starting up collective of designers and workspace for other creative people in Rotterdam: Art and design are my way of going all out in self-expression.

Thus, as an artist, I see myself as the one who creates conversation with or through jewellery; who gives new life towards jewellery and redefines what people would perceive as jewellery.

Why is your project about celebrating natural features through enhancement instead of plastic surgery? Not Your Average Beauty collection is a project that I want to create conversation and discussion on the topic of beauty and plastic surgery. Through my design, I would like society to be exposed to an alternative form of beauty enhancement and rethink about what plastic surgery and what beauty is about.

What does beauty mean to you? Beauty is a very dependent entity and heavily influenced by our surroundings. But, we acquire the knowledge of beauty through our cultures, societies and mass media.

How much impact does your work have on society? I believe my work will kick start a paradigm shift on what society would perceive as jewellery and elegance.

The reaction for Not Your Average Beauty collection is very subjective. People would either like it or not based on their personal perspectives. My work is concept driven with topical approaches.

Thus, I would first set a theme for the collection, followed by doing a wide range of research related to the theme in the idealization process. Ultimately, I want to create visual impacts, conversation and interaction through or with jewellery using minimal and subtle design.

In what way is this related to jewellery? Throughout history, jewellery has been worn not only to beautify our body, but also to communicate social status, identity and even to protect one from evil spirits and misfortune.

When a piece of jewellery is worn, it visually communicates who we are, who we would like to be, what kind of social group we belong to and so on. It reveals information such as character, taste, cultural background, sexual preference, economic status and educational achievement.

Above all these shape our identity. People use technology and social media platforms as mediums of communication. My dream is for jewellery to be a means of communication, i. I believe life is limitless, as in my journey as an artist and designer. I hope through various forms of collaboration, we could work together to learn and explore the unlimited.

Wendy Andreu is a recent Design Academy graduate; she describes herself as a craft designer that communicates through the materials she is using. By analyzing the property of the material, I concluded that this new fabric was actually waterproof and I naturally directed the function of it towards rainproof accessories.

From this first sample, I developed a production system and a finally a collection and brand. The whole making process works with molds: Moreover, by coiling the rope around the mold in one go, there are no material leftovers. Before coming to Eindhoven, I studied metal craftsmanship at Ecole Boulle.

This school teaches students the traditional French craft heritage. There, I learned to have a good vision in 3D, precise technical skills and an eye for quality. Some aspects of this education have remained strongly in my mind: I also love all the little technical tricks that make crafts and techniques being so smart.

And to conclude, I really enjoy the craftsman routine: What fascinates you about designing materials? First of all I would say that I am a materialist and therefore, I like to touch and feel the matter. I like the weight, the texture and the smell of things. I feel connected to the materials because my senses can relate to them. All these details give an atmosphere to my days. Besides this, I am seeking unexpected outcomes from common materials.

When I manage to get a surprising effect, then I feel that I have achieved my goal. Can you describe your creative process? I barely draw on a piece of paper; I would rather sketch in 3 dimensions. I am experimenting a lot and try to be very open at the beginning of the process and then narrow my ideas in order to design towards a function or a purpose. Organization is something I find absolutely fantastic but I always keep a space for procrastination and spontaneity.

An efficient process makes me have a strong satisfactory feeling. More than experimenting only with materials, I find value in designing processes. Next to this, I feel that inspiration cannot be always found at the museum or into books but everywhere in life. I like to see beauty in the insignificant things as much as in the spectacular ones. From the material I designed and created a craft to be able to shape into garments and accessories.

In this way, the material gains value and is suitable for a production in series. All the metal molds are sustainable and can be used endlessly. I drew all the parts of the molds on technical drawing software. From there, it was a puzzle of trying to translate the shapes of our body from 3D to 2D and try to combine them in the most ergonomically volumes.

The cap and the raincoat for instance, are the two products I designed with the raw shapes. Because the bags are not following the silhouette of our bodies, I could develop more free shapes like the Spike bag for instance.

Color wise, I kept it raw. The latex was dyed black to contrast strongly with the natural cotton color. The aesthetic of it is purely a result of the technique I used to make it. Though, I had more creative freedom for the art direction of the look book. I worked together with a photographer and graphic designer. When I was a researcher at Toogood, I was assisting the fashion designers by developing new fabrics and textures for the collection.

I was producing lots of samples that were matching the mood board created by Faye. It was a really new experience to me: I am very thankful to Erica and Faye for letting me in their studio despite my funny background. They are really curious and open-minded designers. They are able to break the boundaries between the different fields and that makes their work look rich and beautiful. Toogood inspires me in many ways: Are you currently working on a new project?

Can we expect a continuation of your graduation project? For DDWI am part of the design collective Dutch Invertuals. I created a new piece that consists of 8 stools made in bricks and concrete. Set up in half a circle, they create an installation where people can seat and gather around shared energy in the public space.

I want to imagine new colors, shapes and textures. To do so, I am keeping the production of the first collection going and at the same time, I am looking for shops that want to sell my products.

Once I will be financially secure, I can start designing again. I am looking forward! On one hand, my dream would be to remain independent and collaborate with other design studios like Toogood, for instance, and manufacturers to be commissioned on projects.

I am a curious person and I am willing to design any kind of objects, furnitures, spaces and fashion items. She works across various disciplines to create a single body of work in which she emphasizes that the assets of nature and being human are of intrinsic value, especially because we are heading towards a technological future.

She derives from intuition and seeks new tools to stir the imagination to inspire a more valuable future. Phoebe Quare Islander Brendan Sullivan Mussel Farmer making Lights. Phoebe Quare is a MA Material Futures graduate who has always had a fascination with materials and transforming them in unrecognizable ways. Just off the coast of County Cork in Ireland, you can find Bere Island with currently around residents; this population has largely decreased due to economic pressure, because at its peak there were over residents.

This rapid depopulation has resulted in limited job opportunities and the work that is done on the island is often seasonal and unpredictable, which is the reason for many locals to leave the island and work on the mainland.

In her graduation project, Phoebe revives the variety of raw materials and reconsiders the resources of the island. Throughout her research she discovered a new material made of mussel shells. By applying heat to the mussels, they turned completely white and by grinding them and adding a natural binder she created a plaster-like material.

From this material she created a collection of lights, inspired by the military heritage of the island. She transforms the traditions of the island and embraces the unique lifestyle of the small community by uplifting locally sourced resources.

Britt Berden is a Dutch future concept developer and material explorer living in London, currently studying MA Material Futures at Central Saint Martins.

Phoebe Quare - Mussel Plaster. Phoebe Quare - Military Wool. Tina Gorjanc just graduated from MA Material Futures and explores the intersection between biology and luxury with a proposed leather collection made of skin grown from Alexander McQueen.

The project uses the process of tissue engineering, in which scientists grow human skin in a laboratory. Her project is based on recent developments that uses biotechnology and leather making; first the genetic material is extracted and implemented in a cell culture, than the cells are harvested into skin tissue that is later tanned and processed into leather.

Tina shows how genetic information can be redefined as a source of luxury but also how easily a person or corporation can claim ownership over biological material. The project shows the huge ability of biotechnology shifting in perception from luxury goods to implement in consumer material and leather, by highlighting this issue she shows her concern about the protection of biological information.

In her design proposal, Tina has designed a line of future commercial leather products cultivated from extracted biological material of Alexander McQueen. The designed products within the collection are manipulated into three modifications referring to the human skin; a tanned bag, a freckled backpack and a tattooed jacket.

In he founded his own studio in Munich where he lives and works. Lehmann 's creation are particular: He managed to find a balance in each of his piece whether it's industrial or conceptual.

Here is how he describes "Vers A Tile" his interpretation of a contemporary table service: Each dish or plate has a function that is specific to a given task.

The pieces are identifiable according to essential characteristics that inform the user of the way in which they are to be used. The perception and experience of the service thereby corresponds to a stereotype. The pieces should be distinct, prompting the user to instinctively select one or more pieces to meet their appropriate needs.

Another emblematic piece of Lehmann's work is "Ephemere" a conceptual and fragile creation. It has always been more than just a by-product of cleansing or something for children to play with, becoming a symbol for the ephemerality of beauty and of life itself.

Blowing a bubble creates something both beautiful and delicate that you know will only last for a few brief moments. Ephemere is a soap bubble bowl from the split second series, comprising products which, once used, last only for a very short space of time. There exists a brief moment, so fleeting as to be imperceptible to the human eye, in which the bowl fulfills its function and is immediately destroyed through doing so.

Blurring the boundaries between craft, science and technology gives the possibility to look beyond existing disciplines to anticipate our future needs, desires and challenges for the 21st century. Bonnie Pierre-Davis encourages Afghan farmers to grow saffron as an alternative to opium.

Bonnie is a London based designer and she became highly fascinated and intrigued by the saffron spice after visiting Dubai while exploring Al Fahidi, a traditional Arabian market originated from the s. She realized that saffron is the most expensive spice in the world and is even priced similarly to gold. It is used traditionally as a color dye for textiles and made from the saffron flower, Crocus Sativus L.

While thoroughly researching the economics and politics about the saffron spice she stumbled upon the opium drug trade in Afghanistan and became engaged with the country. Bonnie has a background in Menswear Print Design and in her graduation project she explores the possibilities of saffron as a raw material in which she uses traditional crafts while seeking for new design opportunities.

She explores the value of the material and transforms the matter to create new perceptions and contributions.

She gives new life to old recipes using her traditional making skills such as embroidery, dying and hand weaving to create artefacts that celebrate this naturally occurring spice. Bonnie has done this in order to highlight the culture of Afghanistan with its strong traditions and rich cultural heritage but also to encourage farmers to stop growing opium.

She aims to help stabilize the economy of the country and creates an ethical contribution to Afghanistan. Peter Cox - Right: Marlies Kolodziey is a graduate from the Design Academy, Eindhoven. How does this dematerializing world affect us and how do we approach this shift in design?

Her work balances between the real and fictional in which the individual experience becomes the new standard and is key in defining functionality. In her project Marlies wants to unlearn the learned to open up new perspectives in perceiving materiality and shape. Because that is where the emphasis of our time is on according to Marlies. She challenges and questions the existing norms of our modern world in which every object needs to have certain usability. She shows fresh alternatives that tap into shifting values creating designs that are accessible, triggering and intriguing finding a balance between the known and the unknown in which one would feel familiar but alienated at the same time.

Creating flexible functions through a more natural and improvised interaction between human and object. Through this somehow unconscious behavior, deeper layers of interaction will be exposed.

Also, people were refreshed in being challenged instead of being told what to do. Fuzzy Logic by Adam Blencowe is an innovative project introducing a method of creating textiles using felting and new digital technology. Blencowe, a Royal College of Art graduate currently working in East London, managed to construct a digitised mechanism that combines CNC computer numerically controlled technology and the traditional craft of felting.

Felt, one of the oldest textile known today, is usually produced by matting, condensing and pressing fibres together. It can be made of either natural or synthetic fibres, and is used in industrial, technical and design contexts. Using a hacked Makita jigsaw, two textiles are bonded together through needle-punching, creating effects of colour-blending and gradations.

The marks created by the process form rich textural surface patterns and simultaneously reveal the contrast between the different fibres. The textiles created by this unique technique could be applicable in various fields - from floor-covering to the production of fashion fabrics.

With the control gained through the digitise process, Blencowe is now able to customise fabrics within short production runs. He explores traditional techniques along with groundbreaking technology, interpreting the dichotomy between the two worlds in a contemporary way. Burring ice in plaster - the water from the melting ice hardens the plaster and creates a physical record of the transition process - produced unpredictable shapes and forms. As Blencowe managed to enhance the process, it resulted in a series of unique furnitures and vases.

Birgit Toke Tauka Frietman - Photo Theresa Marx. Birgit Toke Tauka Frietman is a hybrid designer working in the Netherlands and London. Her sculptural jewellery follows the complex shape of the human body and uses wood in an unconventional way to explore an uncommon material and shape.

Can you tell a bit about your collection? I got inspired by nature in minimal art. This contrast of the minimal and the powerful interested me. I came across the work of Christo and Jeanne-Claude in which their wrappings of nature and architecture revealed strong and clean shapes by removing the detailed and the intricate. I aimed to represent the framing of nature in my graduate project as well. Creating jewellery for an organic and complex body, I wanted to design pieces that contrast with their use of straight lines and clean curves.

I started looking into all the possibilities for shaping wood around the body. The technique of steam bending, gave me the right method to manually manipulate solid sheets of European walnut. In the end, Wood and the use of felt, I believe created a collection that in shape and cut is minimal but leaves a strong impression since the framing emphasises both the body and the jewellery.

What fascinates you about the jewellery design? Jewellery, to me, is incredibly unique in its intimacy. It is a medium that exists closely connected to and is driven by personal values instead of functionality. To me, jewellery can be defined as unnecessary. Unlike clothing, there is no need for a person to wear it. The irrelevancy creates that jewellery can expose the personal and the intimate. The work reminds of very sculptural garments and it looks like there is a link between jewellery and fashion design, can you explain this?

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Yes, there is a very close link; they go hand in hand in my work. When I started studying Jewellery Design, I was amazed by the enormous freedom in material and technique; from traditional enamelling to the new technologies, such as 3D printing. However when it came to the actual designing, the medium of fine jewellery seemed very limiting to me in both size and placement. For me it should adorn the body and fashion design started to intrigue me because the whole body is being considered and addressed.

The decisions for both materials and silhouettes are very naturally made. I tend to experiment a lot which gives me the right aesthetic and function.

I think for my graduate collection, I spent about a month trying different types of wood to see which one would bend best into the shape that I wanted for the shields. Silhouettes, on the other hand, come more from my drawing development transferring to the body. With the chosen material, I try to understand what quality needs to be altered for the model to work as a final design. I am working on several projects. Other than that, I am currently collaborating with several artists and designers in both the Netherlands and England, which projects should all come out around this summer.

And buying one of his canvases, much like most things in life, is all about the mood you find yourself in. His Non-Washable show at Bespoke Studio Gallery in New York was a textured introduction to the art scene of this adopted city; a young Frenchman originally from the City of Lights - Paris after all is also a place with an acquired taste for art. Sebastien paints on three-dimensional surfaces while screen-printing on silk organza and other high-end fabrics. His inspiration in one piece is faces, and a lot of them: Renaissance, Beethoven, masks from the Mayan era, homeless people.

He captures expressions that demonstrate his eye for the different strands of what could be deemed powerful. When he paints on silk, we find bright colours and bold lines that break from the darker, more mysterious faces that often scream back at you. Sebastien was raised in Limoges in the west of central France, a city well known for its 19th century porcelain and oak barrels that make Cognac.

At 5 years old his uncle taught him how to combine his vivid imagination with whatever he could find and that planted a creative seed. Textile allows Sebastian to work on a surface like a canvas but allows for great practical use of the work — so rather than just hang on a wall, he wants to see his creations in as many forms as textiles allow themselves to be transformed into. Tutors include a variety of artists, designers and architects amongst others Folkert de Jong, Lex Pott, Vincent de Rijk, Gijs Assmann and Karel Martens.

An important element of the program was the collaboration with the Rietveld departments and workshops - Glass, Ceramics, Kenapa selalu rugi dalam forex - and external workshops which enabled the students to extensively work with materials and discover its qualities and narratives. Throughout their studies, both the artists and the designers continue to let themselves be surprised by their material experiments and the consequences of those surprises.

Tjalling deepened his relationship with clay and started clay turning, throughout his studies he remained an interest for ceramics but was uncertain of what exactly he was researching.

As het got stuck in the process this internal conflict became the starting point of his graduation work. These I later used to create new images of myself, showing the process of the conflict that we as human beings all encompass inside of us daily. The intense interweaving of his personality and his work meant that Tjalling could never take a distance from his struggle with topics and materials. From the moment he ceded with that, which happened during his video performances for his graduation, all individual works obtained a big, almost universal intensity that can be understood by spectators.

After graduating Tjalling is currently working on a competition and is about to embark on a new struggle with wood chipping as a material and technique to discover. The young Material Utopian has found his role in reality: In this order I see myself in the world of art. The projects that I do originate from the mental and physical processes that are involved in crafts. In my work I start as an amateur and stop when I feel I mastered a craft. Jules van den Langenberg Boxtel, graduated at Design Academy Eindhoven and works within the fields of exhibition making and curation.

His Willy Wonka like behaviour leads to a zapp culture of projects as initiator, creative director, editor, critic and entrepreneur in which the role of design is carefully programmed. Jules van den Langenberg. Video still by Tjalling Quinten Mulder. Photo Tjalling Quinten Mulder - Portrait of Tjalling Quinten Mulder - photo Jules van den Langenberg.

Considering food and environmental problems, she highlights this fact as a designer on different levels. Our editor Cecile Poignant asked her some questions for you to get to know her better: You have been doing recently 2 works with insects. Where does this interest come from? The interest in insects is actually came from a deeply rooted interest in nature and animals.

When I was seven I already began reading Charles Darwin and learning the scientific names of animals. This resulted in a choice between studying Biology or studying in the field of arts, which I also had a big interest in.

I chose for the arts, but during my study I was developing a way to combine my two biggest interests, animals and arts. This insect-subject became so to say my specialty, because I learned so much about them in this project, I will definitely work with this for a long time.

I would like to develop the sweets with chefs, maybe Sergio Herman, Jonnie Boer or Heston Blumenthal an take it to a higher plan. For the other part of the collection, it would be great to work together with biologist in New Guinea specifically there because they are specialized in insects for a long time now or Japan, which is a country in which there is more interest in insects, they keep beetle as pets and they even have a fun-park entirely based around insects.

Do you eat insects yourself if brazil stock exchange trading hours why? At the moment, insects are not at my daily menu.

I tasted everything though, making the sweets, this is a necessary thing of course. Do you imagine more personal works around insects in the future? Matilde Boelhouwer - Insectology Sweets. Rodrigo Ambrosio is a 4 keys to profitable forex trend trading download designer living in the northeast of Brasil, Alagoas.

They combine the traditional clothing, crafts and the Northeastern way of life, mixing public and private symbols. Rodrigo Ambrosio also realize projects by its own. Ambrosio recently exposed a new work made for the design week in Sao Paulo: The concept is to transform the most powerful energetic food in a design piece. The asahi glass company diversification strategy case study was processed as a juice, zasady inwestowania na rynku forex until boiling and evaporating.

Finally it gets to the correct point to become resistant.

People could eat a piece of the chair easiest way to make money on simpsons tapped out passing by the exhibition.

The idea was to rescue the history of the colonization of Brasil, with the interaction of flavors that feed us until today. It is worth mentioning that the mentor of the school and the author of the program is none other than Lidewij Edelkoort. The footwear collection project is a result of a fascination with amateur handcrafting of everyday objects.

It is impossible to avoid comparison with the famous Dashilar Flagship Store project by the Dutch designer Sander Wassink. However, the effect seems to be more commercial. Similarly to the Dutchman, Jagoda Fryca saw the mass product as a resource and resolved to play with ready-made elements, which give infinite possibilities.

Reusing materials and resources is increasingly less innovative and more obvious among the young generation of designers. We are afraid of what could reveal our amateur clumsiness, we feel too incompetent even to decide about our closest surroundings. The same happens with objects. We rarely treat them in an expressive way. The primitives were my personal experiment.

I wanted to find out if the existence of something aesthetically far from perfection can still be justified. And the distinction between finished and unfinished products depends only on our approach to them and on how much potential we are able to see in them. In your work you give new life to ready-made elements. I doubt if we can defeat overproduction in this way. Instead, I suggest that if we look at everything around us in a creative way, an abundance of opportunities will appear before us.

You called the process of creating shoes as a modern primitivism. What is your definition of that term? When I was creating the collection, I used not only elements of mass products, but also other materials and techniques that are available to the contemporary human, and I called this very technique modern primitivism. I do not mean, however, the literal meaning of primitivism relating to some techniques or materials taken from primeval culturesbut I understand it as an opportunity to obtain necessary things on your own, an opportunity to handcraft something, in opposition to mass culture.

What is primitive today is hand-made, imperfect, and yet immersed in contemporary reality, created using currently available materials. How did you develop the production technique? Can you briefly describe this process? I can describe the production technique as spontaneous. Everything depended on the materials that I managed e-forex malaysia find or received from my friends.

Later, the time came for trials, experiments and extensive testing the product on myself - checking if the shoe holds together, if it is possible to survive a day in it. You decided to use a very characteristic pop colour range. The colours I used are a consequence of available materials. For example, I was able to find only pink, black and white warm-setting adhesive.

It determined the whole colour range. Do you reckon that sharing your know-how is an important element of the economy of exchange? It was rather a description of materials utilised in a given pair of shoes than a detailed assembly instruction. That this lace was taken from cheap slippers and the other one was moulded from warm-setting adhesive. It forex trading hyderabad me occasion to suggest a way of using what we can find around.

And because everyone can find something else, detailed instructions would not work here. It is characteristic of scraps that they are often unique. Trend watcher, lecturer, Head of Trends at Pop Up Grupa creative collective agency based in Warsaw. Author of first Polish blog dedicated to emerging trends in fashion and design. This is also the field to which she dedicates her scientific work.

Design Kaja Solgaard Dahl - Photo Magda Gyda Johansdottir. Kaja is a Norwegian designer from Oslo. She beretta 3901 aftermarket stock two years of fine arts in Oslo before moving to Stockholm where she pursued her bachelor in product design at Beckmans College of Design She worked in Stockholm for two years after graduating, testing the waters on the design scene with exhibition collaborations with fellow graduates from Beckmans and a solo show of timepieces.

She was accepted at the Master in Contextual design at Design Academy Eindhoven in She graduated in June from the Master of advance studies in design for luxury and craftsmanship.

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In my casted solid perfume designs the sponge material properties enables the design and interaction. You apply gently by rubbing the casted solid perfume onto your skin, the heat of your skin melts it just enough and fragrance transfers.

Applying different notes of smell you can blend directly on your skin, creating a new scent. The project is named after Tapputi, the first known chemist, she used the method of distilling essential oils, which is the origin of perfume creation. This fact means that companies involved in the production of leather goods produce a large amount of discarded materials, leftovers and offcuts. The binder is fully biodegradable and this fact allows the process to be returnable. The outcome can be re-heated and re-shaped again which means that nothing is lost and therefore the whole material is re-usable.

The objective is to reintegrate the offcuts from the leather industry into their own companies by creating different objects that can be used for displaying their leather goods. Two furniture pieces has been designed to launch the project, a hanger and a side table; with the hanger 28kg of leather offcuts has been reintegrated and 12kg with the how to buy copper on the stock market table.

New furniture pieces will be developed with monochromes and also mixtures of different colors, further developing the aesthetic side of the material. As a designer I desire to discover if technical innovation alone is enough to succeed in practice or if other qualities are needed.

Meet Roos Meerman, a year-old designer from the Netherlands who studied product design at Artez academy for the Arts. She mainly focuses on techniques instead of products, as the process regarding innovation intrigues her more than the final outcome itself. Roos was instantly intrigued and got the idea to insert this technique in different materials that would have the characteristics of staying inflated permanently. Area Fabrica is a combination of blow molding, glass blowing and 3D stock brokers fernley. The technique is still in development and currently quite inert, expensive and difficult to upscale.

Moreover, outcomes of the 3D printer are mostly gadgets as people still consider this machine as a product producer instead of a material producer. My goal is to change this assumption and to discover new material characteristics through the 3D printer. She started with simply stretching plastic and after that moved forward with blowing the plastic up just like a balloon.

When plastic is heated it turns into a flexible substance that can be transformed in to every possible shape, cooling it down solidifies this specific shape again. This technique mind remind one of glassblowing but with Area Fabrica the form is determined before the inflating process, which allows more influence on the calor gas norwich cattle market form.

Area Fabrica is the perfect example of our current redefining trend as this project mainly focuses on discovering new ways of engaging with well-known materials. It creates awareness regarding the fact that we should be open to determine new paths, to define the old into the new.

Area Fabrica teaches us to never stop redefining. The project Aera Fabrica won the Hendrik Valk prizethe New Material Fellow and the Design and Innovation award Gelderland. At the moment Roos is developing the process and researching the different possible applications. Extremely curious and always searching for little weak signals that tell us things are changing.

Cecile is a trend researcher and creative 24 trade can you binary options in the us residents developer with the wanderlust of a cosmopolitan. Binary options forex peace army aim in life is to develop things that matter to others and to help others change their strategy to be ahead of the future.

TALENTS

Carved fluolight design by Linde Freya. Linde Freya graduated Design Academy Eindhoven in last January. I question the use of crafts, but translating into contemporary materials.

I question the daily objects around us. By searching for a way of shaping the wood, a human signature arises. The series is made as a reaction on our structured life.

More than ever we live in contradictions, of overstimulation and under-stimulation of our senses. Freya expresses that with a lot of talent in her recent works. Table Top design by Linde Freya. Trash Bin design by Linde Freya. Table Top - Right: Design by Linde Freya. Side Table design by Linde Freya. Kenny Dunkan is a Guadeloupean Paris based artist that belongs to a category of transversal cultural dreamers.

He documents his visions in a blog where he creates collages using his body as canvas. Combined with his childhood explorations in the Mardi Gras parades of Guadeloupe, his sculptures are filled with movement and eclectic colours. The tube then leads to a plant like construction; compiled by clothes wrapped with electrical wire. Resembling a tropical plant of our time, he was able to ensemble together opposing objects and to capture the essence of stuff we often consider as trivial.

For his graduation project, he conceived an installation where visitors use their noses as reading tools. With overpowering grease in the air and scents of musty metal created by the machines, the hard work back in the days gave rise to laborers sweat.

He reproduced this ambiance by creating a highly visual structure where three glass tubes transported and diffused the specific smells of sweat, grease and metal. By interacting in a material and invisible way, the scents allowed history to come back to the space, through the material state of fog. The smells could be discovered separately or in union. Thus, the designer considers smell as one of the most powerful generators of emotion and reaction within human beings. Endless possibilities open once we brake the barriers of what we consider a message.

Working in a variety of crafts and visual interventions, Mateusz Wiewiorowski designs metaphoric furniture and graphic concepts — exploring the wonder around each creation. Currently developing new project, he continues to bring visual poetry into different atmospheres — investigating the behavior of lively materials and their outcomes.

Here are his words to explain his quest: Feeling for the structure and transforming volume into surface, results in given space. My need to reshape reality is an on-going development that focuses on diverse activities within our visual world by which, senses attract and hypnotize. Stone Project image was shown as part of Nasza Polska — Paris Design Week 6 to 13 September best stocks to buy under $30 www.

A material based entity whose boundaries continually undergo construction and reconstruction. Moving away from a solid to a liquid form. Here it has become an amalgam of the synthetic and the organic.

Its skin infested by fungi like textures, feeding of its host. Synthetic low implied volatility options strategy structures constricting its carnality, growing in stasis, waiting to unveil its newly formed function.

This new malleable body, has become a place where plastic parasitic substances emulate the immaterial, intuitively revealing its architect. The collection consists of different pieces of liquid latex, that emerge through the emulsifying reaction of latex with calcium nitrate.

Calcium nitrate is used in the balloon, latex gloves and condom industry to create a uniform film of latex around a mold. The molds are first dipped in a bath of water and calcium nitrate before being dipped into liquid latex. By changing the viscosity of both the latex and the emulsion I was able to create different outcomes.

Each piece of the collection asks for a different thickness of the latex as well for a different technique of dripping. A lot of experimentation was needed to find the right method, since the material is very perceptible to numerous components, such as water surface tension, ratio calcium nitrate and water, drying process, etc.

With the different techniques I created a collection that resembles cellular structures, slime molds and fungi-like textures, that are created and formed like living and growing organisms. These textures are both organic and synthetic. Exploring the boundary between living matter and non living matter.

Like living organisms feeding off its host. Intuitively revealing its architect. Tom Mckenzie is an australian, Denkmark based photographer whose work is distinguished, passionate and emotional. Growing up in a both musical and highly academic family allowed him to get forex brokers comparison spreads by a blend of various factors - Ancient Greek mythology, modern natural and biological phenomena, sexuality and mystical theory.

With a strong fascination with new ways of interpreting reality and contemporary identity and how our generation, with our resources and complex technology, may discover a new language in which to describe our place in the ever-changing world, he invites you to explore a surreal world and creates a sentimental feeling in its beholder.

Looking at the biological metamorphosis of snakes and moths, the geological processes of plate tectonics, rock and crystal formation, as well as incorporating classical and medieval depictions of warriors and heroes, they created a rich universe which gave new meaning to a mythological story of light and dark, confrontation and resolution.

Design Academy Eindhoven graduate Anna Badur is an independent Designer based in Berlin. Having studied Contextual Design she has created several industrial design projects that reflect her style, her ideas and her view on design. Her ability to create art and design from everyday simple materials makes her work unique and lets us see design from a new bitesize ks2 maths money games in an un-expecting way.

All her projects so far belong to her master thesis, which was generally about the idea of using natural influences in design processes. Since natural forces and weather conditions form Landscapes, and organisms adapt to their natural habitats, she explored the northwestern Germany, her home turf. There, water and wind have a dominant effect both on the landscape and on the human condition. It has a melancholic beauty, which offers room for poetry and creation. She exhibited during last Dutch Design Week in Eindhoven a collection of all kind of experiments to give the viewer an inside look into the processes.

A ribbon or a rope can create endless possibilities. They are symbols of connecting or binding things together, which therefore represents relationships, bonds, safety or communication.

But yet they how much did billy mays make a year evoke a feeling of being constricted or restrained.

A trading us stocks in tfsa of exploring the ways of transforming a linear material into three-dimensional objects has been executed from folk basketry up to fashion. Researching the spatial possibilities of the coiling method that are influenced by masonry construction.

Australian knitwear designer Katherine Mavridis, is most interested in exploring the textural qualities of clothing. These ideas then transform within her knits from a 'rhythmic' perspective, creating dynamic textural and sculptural structures which 'pulsate' around the body. Her Mokuba collection was sponsored by luxury Japanese trim and ribbon company, Mokuba. This led me to explore traditional rustic techniques of coiled basket making and sculpting.

Louis stone wall street stockbroker research led me to explore more modern examples of basket making as I looked to other inspiration sources such money for olympic medals Brooklyn based designer Doug Johnston who constructs amazing coiled bags, purses and baskets out of rope.

I went on to develop a way of shaping the pieces around the contours of the body, eventuating in fully-fashioned pieces. Design day trading entry strategies Moriel Dezaldeti- photo by Lior.

During her studies, Dezaldeti found a refuge in knitting as an intimate and meditative act which provided her a quiet place and a form of expression. Dezaldeti believes that through knitting she can express her vision to the world; she lista de corretoras forex regulamentadas body movement investment banking stockbroker to textile and produces images of the inward cara menganalisa forex factory through search and great curiosity of the human body.

Through the transition between the two dimensional and three dimensional,Dezaldeti explores the material, listen to it and let's it be how much money anderson silva makes it is and so breathes life into it. As a designer, she puts emphasizes on handmade works and mainly works with a manual knitting machine. With the same machine she has developed a technique that combines textile knitting and weaving elements, this is how she manages to embrace a variety of colorful and unique textures.

Design Moriel Dezaldeti- Photo Leonid Padrul. Design Moriel Dezaldeti - Photo by Lior. His will to obtainable form is accompanied by his humility in virtue of natural processes. Evidently Lev Khesin compares painting to the art of archery and other Zen rituals: When applying each new layer, he focuses exclusively on this one action, thus making them an exercise in controlled presence of mind.

The image is the evidence for an accomplished meditation. The light penetrates the transparent material: They mix and oscillate in its various shades depending on the position of the viewer and depending on the time of day. A single beam of light can bring a deeper color to glow, let it glow mysteriously diffuse or disperse. The boundaries between the individual color fields are never clearly perceived, since there are no faces, but only depths from which ascends a color.

The original substance manifests itself in the pictures, but the man who has left his trace here. Christa van der Meer is a Dutch fashion designer and graduated from the Royal Academy of Art in The Hague. Experiencing with different mediums she now works on projects to find ways to connect her portrait drawings to her fashion designs. Her graduation collection she portraits the fact that drawing is essential for designing.

The combination of the exotic prints make her collections a piece of art. Wrapping her silhouettes in different cultures allows a new global jcp options trading to be born and gives us new ideas how to incorporate new fabrics in various prints. A new urban nomad. Agustina Bottoni is an Argentinian product designer. Her main goal is to develop skills to become an integral designer.

Currently she is an exchange student at Willem the Kooning Academy in Rotterdam, The Netherlands. The aim of the project is to maximize the luminance and heat potential of a abrir cuenta demo forex candle. The tea set celebrates the process of slow tea making while showing it through a light effect, becoming a decorative object that brings a pleasant moment of contemplation.

The spherical shape of the glass bottle acts as a lens, magnifying the light of the candle, and showing the beauty of the tea.

Tea can be brewed slowly in 3 to 4 hours or can be used to maintain the infusion hot. The flask rotates in every direction for serving the tea. The strainer fits the cup, which has a cork sleeve as thermal insulation. Philipp Weber was born in Munster, Westphalia in During his studies at the Design Academy Eindhoven in the Netherlands he explored various media and materials, always fascinated by language, music and craftsmanship.

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Pivotal to this work was Webers desire to discover the world of a glassblower. In Belgium he was able to watch glassblower Christophe Genard working with the hot material. Genards most important tool, the blowing pipe, caught Webers attention.

In the past years only minor alterations have been made to the 1. How would Christophe adapt to a new pipe? Simultaneously to this process, Weber also sensed a strong rhythm and musicality in the way Genard was working on the glass.

The pipe as a tool for glass production, appeared to be like a musical instrument to him. He could not resist the idea to translate the mechanism of a trumpet into an application for blowing glass.

Playing the valves, Genard would shape the glass from inside, activating different air streams. The transformation of the pipe into an instrument provoked a performance of glass making.

A short-movie, several glass objects and the instrument itself communicate this dance with the fire. The musical rhythm of the glass workmanship emerges and unveils a new facet. An old craft can be experienced with a new sensibility and poses the question how design can change well-known patterns and processes without destroying the essence of the craft.

Agrarian consciousness — how food is grown and harvested, and where it comes from — has been rising steadily for the last decade. Sustained interest in sustainable agriculture, energy and consumer products has also garnered a great deal of time and attention from top designers and innovators. Product designer, Qiyun Deng has interpreted these matrices of agriculture, design and ecology in the form of biodegradable tableware for his diploma project at ECAL, in Switzerland.

Made of bioplastic PLA, Deng's project, Graft is a testament to the inherent artistry of nature's colors and textures. Merging form and function, Deng modeled his bio-untensils after common fruits and vegetables.

His project honors beautiful design and the moral imperative to live consciously and sustainably. The briefing for this project was to uplift disposable products by introducing a "haptic" quality, such as texture or color. Deng noticed that the texture and shape of fruits and vegetables could be applied to everyday artifacts: Textures were copied by various techniques including 3D printing; and then parts were joined together by a grafting technique that is also commonly used in horticulture.

The final prototypes were finished at the school workshop by using two parts of polyurethane resin with different colors. She also maintains a blog devoted to the intersections between fashion, future studies and trend science. She completed an internship with Trend Union in as the Assistant Editor and Community Manager of Trend Tablet, and considers her experiences with the Trend Union team an invaluable addition to her work as a trend forecaster and fashion theorist.

Curious, imaginative and courageous, she incorporates art and contemporary topics in her designs, forging intuitive understanding with conceptual imagination. She not only works by hand but also uses the computer, to follow a playful process of deconstruction and reassembly to derive at fresh perspectives on seemingly familiar themes and forms.

The transition to a three-dimensional approach required in fashion design set off a chain of developments in her thinking which started off as an exploration of the mineral world, her graduation collection eventually researched elegance in relationship to the space we occupy in the world, both in a physical sense and psychologically, socially and politically. Her surreal world is a manipulation of textiles and invites us to see textile from a complete different angle.

Her main inspiration originates from minerals. Dug up from the earth and grounds to glaze components and pigments, in her vision they mysteriously regain their solid state on the surface of the fired pieces, adding durability, colour and brilliance to the work. With a main focus on rocks, gems and ores, studying their varying substance densities she creates wearable minerals. Several elements taken from the mineral world return into the design.

Floor Nijdeken recently graduated at Artez institute of Arts Arnhem, The Netherlands in Product Design. His latest project is called Crossover Collective and we just love it. Floor explains us his project: My main focus lies in activating and mobilizing people. I designed the conditions in which social structures can grow and bloom, and the initiative of users is stimulated. With myself as an intermediary and my table as a medium, I let participants find out that working together stimulates mutual trust, understanding and positive energy.

In today's society there is a lot of knowledge createdbut how is this knowledge passed on? Young people get their knowledge from books and the Internet, while the elderly and their heritage disappear. Society is changing and people are suspicious of spontaneity and communication with each other. My social machine focuses on an ancient form of communication and social activity: The embroidered carpet is the silent witness of the numerous short encounters, and the visitor created a positive memory to cherish.

Alexa Lixfeld photos by Dietlind Wolf. Alexa Lixfeld is a design studio, consultancy and production company, based in Hamburg, Germany.

What these projects have in common is that they reach far beyond the strictly commercial: The glass elements were handmade and mouth-blown in a workshop in Novy Bor, a small town in the Czech Republic, between the Lusatian Mountains and Central Bohemia, famous for its history of glass production. The glass tradition still survives in hundreds of small factories in the surrounding villages.

When confronted with their techniques, Lixfeld decided to celebrate them by combining the glass with the wooden molds that lend it their form in the blowing process. These molds, just fuel for the kilns after they were discarded, had a beauty of their own, which is never seen. Keeping the glass pieces and their molds together once the production was over offered me an opportunity to put that beauty on display.

It also provided a much greater tension to the glass, because of the contrast in texture between its shiny and colorful skin and the worn out appearance of the mold.

It equally gave me the opportunity to show the process that led to the finalized product. Our production has always been non-industrial, away from the standard and norm. GlassWood is no exception: I re-use an old mold to serve as a base for one glass object.

It creates a unique mold-glass combination, and you cannot have the same coupling twice. Lixfeld sees her work as an open process, a collaborative action that allows for coincidence and surprises, incidents and accidents. My work is essentially about bringing together what is already there, but which remained disconnected.

A great number of designers start from scratch, and then define the product in every detail. Water, fire, wind, light, gravity, temperature, are his working tools. Erbsman works with natural phenomenons and try to create links between manufactured objects and the four elements of Nature. Polar Light is a project realized in Lapland in Winter and presented at Salone Satellite - Milan Designed to be hung from a branch of a tree in winters, it is composed of a metal structure covered with soft white woven fishnet that catches water in all its forms.

At dawn, when the morning dew deposits micro droplets on the surface it gradually freezes and turn into stalactites. Over course of the day, the structure stiffens coated with ice. At nightfall, it glows as rays pass through the ice, thus highlighting the beauty and delicacy of crystallization of water. This ephemeral work of nature exudes a timeless boreal light.

This faraway, atmospheric light reinterprets a crystal baroque chandelier. It sees water, frost and ice as functional materials, and enhances each of their aesthetic, ecological and structural qualities.

This project considers factors of climate as potential drivers that can interact with manmade objects. It is the first result of an ongoing experimental research on relationship between manufactured objects and the four elements of nature. His work focuses on objects for everyday life, with a playful handling of materials and design in different fields. One project, titled Edged—Cutlery, combines the elegant soft curves of classic cutlery with sharp, rigorous edges.

Cast in bronze, the set is designed to achieve a balance of ergonomics and aesthetics. Therefore it is really important to experiment and work practically. The design process involved the creation of a paper model before the final result was achieved.

Another inventive and playful project is Cake Server, in which the handles for the cake plate are removable and become serving utensils. The sleek design is accentuated by an elegantly curved handle. Maximilian will be graduating from his program this summer. We hope to see more from this talented young designer. After two years of study in Paris she returned to her native Rome to study architecture.

The art of critique proved more fruitful for Camilla and she began to write for the Association of Art and Critic about art and design and on her personal blog Choufouchouf.

Focusing on the relation and communication between fashion and art, she decided to follow her creative nature not only giving a voice to the library she has on her laptop but also as inspiration for editorials. He spent his childhood behind science books and numbers, then later joined an architecture course where he was also introduced to the camera for the first time. Architecture has taught him so much about balance, form, colour and so many other skills which he now apply to his photography, creating his own personal language.

But his stronger influence comes from fantasy movies set in fantasy worlds. I think this picture is so powerful thanks to the contrast between the male subject and the grace of pink flowers. I usually always try to find some connection between the relationship that us humans have with nature, so I thought I would try replicate the fencing mask with beautiful, graceful flowers. It is definitely part of an ongoing project that I wish to continue once I graduate from university!

Fascinated by eclectic references, this young architect is able to filter out unnecessary excess and contrived structures through his camera lens, and communicate only the grace and lightness that he experiences in his inner world. Sabatina Leccia is a 28 years old independent eco-designer based in Paris.

Through the invention and reinterpretation of existing objects, two collections of products were created: Haemorrhage and Fragile Breath. Each project is designed to visualise a specific set of data or specific material scenario. In a time of unparalleled material scarcity and increasing population she hopes to use design as a communicative vehicle to visualise the urgent need to reconsider the patterns and speed of our consumption, and bringing these broader global issues closer to home.

My name is Dienke Dekker and I am a 4th year student at the Design Academy Eindhoven in Holland. I think that different properties of materials offer a great opportunity to express ambience, tactility and feel of objects. In my work I love to experiment with these properties and to create objects with a strong emphasis on craftsmanship and detail. The basket weaving craft has been the inspiration for this project about imitation and reinterpretation of crafts.

From imitation of bamboo structure, the step was made to silkscreen printing on silk and other textiles with custom paint stamps, resulting in a series of archetypical objects. I have a twin brother. To be a part of a couple and experience everything together is a big advantage in life, the bond, created in the womb, I cannot explain but it has affected me tremendously in consolidating my personality and my self-esteem.

Growing with a twin brother can sometimes lead to loss of identity, loss of the individual's oneself, starting from identical clothing, celebrating birthdays together until getting the first summons for the army. Our names — Yuval and Gal always called together, so are the wings, dependent on each other in order to fly. Chicken wings symbolize purity, sanctity and immature manhood.

By using wings in different forms I am trying to express the sacrifice, sacrificing and death, sometimes, African cultural symbols. Working with wings as a material, intrigues me, it is a live-dead material.

Wings allow me to show the clean outline, saint as angel wings. However, the use of wings in my photographs does not wishes to express the above-mentioned. Moreover, the wings in my photographs always wishes to symbol the rooster's slaughter as part of the food industry — an unseen stage.

Photographing control and loss of control interest me; expressed as human control of animals for instance, such as training or butchery. In the still nature photograph with the bed, I have built a construction out of chicken wings, which comes out as a peacock's tail. The magnificent peacock tail has survived through evolution and has preserved, even though it lessens the peacock survival abilities and according to evolutionary history should have not survived.

What allowed it to stay was mating issue; tail is presented to females at the reproduction period and the most beautiful, impressive male gets to have offsprings. The impressive tail symbolizes manhood, power and control, however, It also symbolize vulnerability, femininity and care. Here are her words to describe her Toys for contemplation: The luxurious objects, made from hand-blown glass, remind us of the candid fun we had as a child, when we were able to fully get caught up in the moment.

In order for the toys to catch our attention and create a poetic moment in time, I have created three different sensory experiences: When you think about designed object, lot of super famous designers and object came into your mind, but the essence of design is more about innovation of shapes and matters, then it can become part of our culture.

That's exactly what Elisa Strozyk is making, turning wood into flexible textile: The outcome is really fantastic, and shows us that innovation is still part of the game, using traditional material to create new forms, reconnecting us to real feelings and a new tactile experience.

As she explained the world around us is becoming immaterial, with all the way we have to communicate with people, by mail, messages, calls, using internet to live, buy, get informations of the world: The place for printed and matters is becoming tiny, but making it luxury and precious.

And that's what she want: Also it is crucial to aim for a closer relationship between subject and object. This can be achieved through more flexibility and changeability, the possibility of growth or surprising elements. In the future we will have to deal with more waste and less resources.

Therefore it is fundamental to be aware about life cycles of objects. That means to use material that is able to grow old beautifully. Garment date unknown, most likely SSacquired at a Warehouse sale, Chelsea NYC. Elisa Van Joolen is a recent graduate of the newly initiated MFA Fashion Design and Society program at Parsons The New School for Design. Elisa embarked on a collaborative project whereby she requested and acquired sample garments from industry giants, Nike, Banana Republic and Calvin Klein, to name a fewas well as sourcing from local stores and independents.

She longed to create a collection with multiple entities and brands, like a wardrobe. Through the process of cutting into these pieces, Elisa created several new assemblages lending itself to a collection in sum.

As a result of this process, garments that had already been deemed complete were given new life and each purposeful cut gave way to an array of beautiful abstractions.

Garment date unknownacquired at Salvation Army, Brooklyn. Limited Edition Piece SSacquired at high-end store, Soho NYC. Texture, remains a source of fascination and often a backbone of visual and textural moodboards. Daniel Costa is a design poet who hails from the Tyrol. Like a breath of fresh mountain air, his endearing personal style and enchanting optimism mix freely with his creative skills and mature sense of beauty.

After studying at the Design Academy Eindhoven, Daniel completed an internship at Studio Edelkoort in Paris, where he immersed himself in the city to redefine his work and expand his identity. A very pragmatic human interaction with the tree as a movement in time and space. I take this found piece and give it a more sensitive shape. Following the grain, the structure, the architecture of the tree. I cast the new shape in ceramic to observe the qualities of this shape in a different material.

The shape is still human — I start to burn and brush it. The grain comes out and the smooth shape starts to have a structure that is logic towards the shape.

Again I cast the new shape in ceramic. I burn the shape even more. I sand the grain structure away to observe the deformation — anew burning the shape and casting. Anew sanding and observing the deformation Autonomous shapes arise that refer to themselves and their origin; shapes and surfaces that need contexts in our world. They show us potentials and new design qualities but also a strong relation to our body.

It is a research that evokes an archaic quality that seems to harmoniously combine the contradictions of us humans in our troubled world with the roots of our existence. An alchemistic approach to design and our contradicting lifestyle. My longing for tactility and structure.

My wish to appreciate the complex beauty of the most elementary things. Lee Schein is recently graduated in visual communications and illustration from the Wizo Academy of Design, Israel.

Her final project called "Wild Realms" is an anthropology work about fictional civilization of warriors. Her world is inhabited by strange creatures, well-dressed and accessorized. They look perfect, between Tim Burton and African Art. Even more impressive in real, her silk-screen printed figures are 2 meters high! Schein's major interests are illustration and wearable art. Jungeun Lee has been experimenting and researching unconventional methods of garment construction.

Her process eliminates the need for sewing, cutting or weaving. She wraps synthetic fibers around a desired form, and then uses a heating process that transforms the fiber into a three dimensional molded garment. This technique renders both expected and unexpected silhouettes. Her zero-waste garments are a significant contribution to the fashion industry.

Although her materials are petroleum-based, her process is noteworthy nonetheless. By designing in free form without the vast amounts of waste that traditional methods entail, she is paving the way for future eco-friendly praxes. Text by Beth Lauck. The pieces of the dial were layered to mimic the shape of a skull, mirroring the layers that facilitate the movement of a mechanical watch.

A devotion to detail and a dedication to the art of craft make this watch a spectacle for the eyes as well as a tribute to luxury horologists of the past, present and future.

Her meticulous praxis uses a combination of hand- and machine-knit stitches. Elsa Lambinet is born in in Nimes, France. After graduating from Design school in France, she decided to live in Australia for a year in order to perfect her english and build upon her professional experience. I was born in in Turkey. I studied painting in high school. I do love to create-draw-illustrate my world and transform to design-print-cloth.

I hope to make an experimental studio to work on different things as illustration, garments and print design and even maybe something else.

Jannis Huelsen is a young german industrial designer graduated in from HbK Braunschweig. Xylinum is a research project that poses the question: The title Xylinum is the name of the bacterium which produces an artificial cellulose material.

This bacterium consumes sugar and builds a cellulose fibre structure around any given form. The properties of this material can be adjusted by changing the genetic code of the organisms. Its underlying thoughts are meant to provoke a discussion and pose an alternative to the current trend logic. In Mongolia, my native country, we believe in an ancient myth that you can charge your spirit and fortune by standing in the dust of our famous horse races.

As I explored deeper, the question branched out into: And ultimately how are these things connected to humans desire for spirituality? Due to its nature, part of this project involved a journey to Mongolia where I explored the other, the eastern side. In Mongolia, the project not only got its essence but also got shaped by all the other occurring experiences and influences.

The next evolutionary step of luxury in the west will be intangible. The designer behind SMJD is Sarah Mesritz, she graduated in from the Academy of Fine Arts in Maastricht. After several projects and internships in Amsterdam and New York, Sarah started her own jewellery label in the fall of During Milan SMJD presented, 25 meters of jewellery.

Create your own design with jewellery per meter and combine different elements of knotted or crochet rope. I'm an illustrator, graphic designer and toymaker based in Montevideo in Uruguay.

The Amigurumi is a Japanese technique that allows modeling small sculptures by crochet wool. This technique creates textures and unique volumes for natural and organic pieces. Anna October is 20 years old, she is a designer based inUkraine. Creation and harmony, utility and functionality are main words for understanding Anna's clothing. FAQ PRIVACY TERM OF BUSINESS HOME ABOUT EVENTS CONTENTS CONTACT facebook twitter rss newsletter. What was your main inspiration for this project?

Whose work do you admire and why? What are your plans for the future? I am working hands-on most of the time, materializing the ideas I have in my mind. What does the future hold for you?

I am currently still living in Eindhoven and I might move to another city in the future. How do you choose the materials and silhouettes for your designs?

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