TATLIN NEWS #55

зать, что обстановка моего дома в основном составлена из моих собственных вещей. В академии я очень интересовался исследо- ванием материалов: мы должны были делать модели всех пред- метов, так что я много времени проводил в мастерских, изучая ткачество, вышивку, керамическое производство, технику прин- та. Сейчас, к моему большому сожалению, я вынужден передать эту часть работы в руки производителей, поскольку у меня со- всем нет на это времени. – У англичан есть такая шутка: заказ был бы хорош, если б не за- казчик… Дизайнер-профессионал работает с реальными потребно- стями заказчика. Удается ли в этих стесненных условиях реализовать свои творческие амбиции? – Знаете, когда я только начинал, мне приходилось самому за- ниматься продвижением своих продуктов на рынке. Но с течением времени ситуация изменилась – теперь крупные производители приглашают меня поработать над каким-то предметом коллекции и поставить на нем свою подпись, так что сейчас реализовывать творческие амбиции не составляет для меня никакого труда. Од- нако я на сто процентов уверен в том, что нужно работать с клиен- том как с личностью, слушать и смотреть на него очень вниматель- но, учитывать его мнение. Думаю, дизайнеры, которые не могут работать в определенных границах, становятся художниками. – Трудно удерживать баланс между богатым наследием бренда и необходимостью сделать новую коллекцию актуальной в 21 веке? – Я об этом как-то не задумывался. Все заказы, которые мне поступают, становятся логическим продолжением моего двадца- тилетнего опыта, и сотрудничество с брендами, имеющими бо- гатое историческое наследие, – тоже часть этого опыта. Вместе с компанией-производителем ты рискуешь, выпуская на рынок объект или коллекцию, это ведь целый процесс, и зачастую на- следие бренда становится частью нового продукта. А потом, мы

Кресло Tank, Palau | Tank armchair, Palau

If you look at the furniture in my home you will find mainly designs of my own this is probably testifies the above. At the acade- my I had a huge interest in exploring mate- rials and techniques to come to innovative designs. We had to make models of all de- signs we drafted so I spend a lot of time in workshops weaving, tufting, working with ceramics, silkscreen printing etc. Now, to my regret, this the model making has been taken over by our manufactures as unfortu- nately little time is left to do this myself. – Englishmen tell a joke, saying that it would be a good order if it were not for the cli- ent… But a professional designer works with specific demands of the client. Do you manage to realize your artistic ambitions in such lim- ited conditions? – When I started out as a young designer people and press picked up my often unusu- al and imaginative designs that I, at the time, brought to the marketplace myself. Then as time passed and the design arena changed in that it became more normal for companies to attract designers for a new piece or collection they ask you for your creative talent but select you for your sig- nature, so then it is not difficult at all to re- alise my artistic ambitions. However in ad- dition to that I strongly believe in working from a defined identity of the client. Listen and look carefully than adapt to the guide- lines. I guess that if designers can’t man- age to work within the boundaries of com- mercial assignments they become artists. – Is it difficult to strike a balance between the rich legacy of the brand and a need to make the new collection relevant for the twen- ty first century?

– I never thought of it this way. The de- sign assignment that have come down my path are the result of twenty years of expe- rience and collaborating with brands that have a rich legacy is part of that experi- ence. Together with the brand you venture out on a new product or collection, it is a collaboration and a process – and subse- quently the brand inheritance becomes part of the new product. Besides we live in such a diverse world where individuality is key, where there are many trends simul- taneously, where brands dear to take risks and like to innovate – so how would one then define relevant for the twenty first century? Look at Swarovski, I personally think that Mrs Natia Swarovski has done a exceptional job at establishing a new di- rection for the company, by collaborating with a great diversity of designers, with- out disregarding the legacy of Swarovs- ki – even thought the company image has changed to the upper limit. Very exciting for all the designers that took part in this process. – Boundaries in the world of design are so vague; you started with textiles, then moved on to working with furniture, and now you de- sign both and also work with interiors. This practice is not uncommon for professional de- signers. Could you start designing clothing collections and engage in fashion industry to- morrow with the same passion and ease? – Yes I could, because I think design is a mentality, but my passion is interior de- sign. And not unimportant interior design is long-lasting contrary to fashion. – Do you use light and furniture produced by others, not designed by yourself, in your inte-

– Certain influence of Eastern culture is re- vealed in design of objects and decoration of spaces that you do. Does it have to do with distinctive love of the East, fascination with Eastern philosophy or do you find particular comfort in Eastern design principles? – It is my fascination with Eastern phi- losophy. I get inspired by the rituals/mo- ments of the day that they have; drinking tea, honouring your ancestors, meditating in a Zen garden, Yin Yang – the balance that so much part of the eastern culture. By adding western features I strive for ten- sion between the modest East and the more abundant West without disregarding this ever so important balance. – God created the world through His word; in this sense, it is noteworthy that the Greek word for "creator" is poetos, that is, a poet cre- ating through his word. How we name things is

riors? What are your preferences as to produc- tion of furniture? – In each case, we focus on introducing the client’s corporate identity or another spec- ified image into a fully integrated design. An important factor is achieving a good balance of function, atmosphere and emo- tion, while following a path impervious to trends. This results in using my own designs because then we can deliver a truly unique interior for the client. Every interior fea- tures purpose-designed furniture, lighting and graphics melted into a strong concept. This results in a preference for production techniques that are suitable for small quan- tities and bespoke editions. Handmade and production according to traditional meth- ods have strong preference. So plastic for example would be unlikely as this is more of a mass product production method.

Кресло Kylian, Palau | Kylian chair, Palau

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