Name: Christoffer Martens

Born: Bremen, 1975

Studies: Product Design, University of Applied Science, Potsdam

Internships: Alfredo Häberli, Zürich

Products:
Siebenschläfer for Nils Holger Moormann, Aschau im Chiemgau

Spross for Nils Holger Moormann, Aschau im Chiemgau

Obstrutsche for emform, Bockhorn

Buchhalter

Potbase

Christoffer Martens

(smow)blog: How did you arrive at product design?
Christoffer Martens: I initially trained as a graphic designer and then worked in a media agency for a few years. However over the years I moved ever more towards objects and designing objects and eventually started studying in Potsdam

(smow)blog: And why Potsdam?
Christoffer Martens: At that time Potsdam had just completed the construction of new workshop, it’s also in a fairly quiet location, and so for me offered excellent conditions for studying. And then the proximity to Berlin also made it very attractive, because Berlin is a city that lives and breathes “design”.

(smow)blog: What was the most important lesson that you learned in Potsdam?
Christoffer Martens: The college in Potsdam isn’t focused on one design direction, rather there is a broad spectrum of possibilities and the advantage is that as a designer you can find your own direction and form your own opinions. And I found and indeed still find that important so that you can talk and argue about and over design.

(smow)blog: You also spent some time in Zürich with Alfredo Häberli?
Christoffer Martens: Yes, I did a six month internship with Häberli and was directly involved with his design team. Which was a wonderful experience and one from which I learned an awful lot. I observed, for example, how a professional studio functions, how Häberli brings character to his objects and how he sells his products. In context of the complete student years, the internship probably helped the most in terms of understanding what product design actually means.

(smow)blog: And so you would recommend such internships?
Christoffer Martens: Yeah, I can strongly recommend internships. Especially in established design offices where one – in the best case – works with interesting clients, or on interesting projects.

Buchhalter - new from Christoffer Martens

(smow)blog: And you have also worked with Thonet?
Christoffer Martens: Yes, Thonet were the co-operation partner for my final year project. The topic was flexible tables, and I experimented a lot with Thonet at their factory in Frankenberg. There are few interesting ideas from that project which I am still developing.

(smow)blog: Your most commercially successful product is currently the bed Siebenschläfer for Moormann. What is the background to Siebenschläfer?
Christoffer Martens: As a project Siebenschläfer began before my studies and then came over an indirect route to Moormann. Here in Gallery erstererster we host regular guest lectures and one of our speakers was Peter Unzeitig, who has products with Moormann. Peter found Siebenschläfer so good he said he wanted to show it to Moormann; who then also fell in love with it. And before I knew where I was I had a product with one of the most important producers in Germany. And for that I will always be thankful to Peter.

(smow)blog: How was the cooperation with Moorman?
Christoffer Martens: That was so simple. The design was more or less taken on as presented. Over the years variations and add-ons have been developed such as the kid’s bed Spross on the Siebenschläfer shelf, but for a young designer it was certainly a perfect start in the world of design production, because with his unorthodox style Nils Holger Moormann make everything so easy…

(smow)blog: And the name?
Christoffer Martens: That was suggestion from Moorman, and I wasn’t really party to the process. If I remember correctly at that time they had Siebenschläfers [dormice] in the attic and that was that…. [laughs]

(smow)blog: What are you working on at the moment?
Christoffer Martens: At the moment I’m principally working on two lamp projects. I wanted to move a little away from furniture and I currently have a fascination for a certain type of lamp and so am working on a couple of projects which I hope to be able to present in 2011, possibly in Milan.

(smow)blog: And generally, where do you see your future
Christoffer Martens: I don’t believe that it is possible to plan too far in the future. And although I am always open for new projects in other design area, I am currently very happy with product design and hope to be able to bring further interesting products on to the market.

More information on Christoffer Martens can be found at www.christoffer-martens.de/

Siebenschläfer by Christoffer Martens for Nils Holger Moormann

Kids bed Spross by Christoffer Martens for Nils Holger Moormann

Obstrutsche by Christoffer Martens for emform

Buchhalter by Christoffer Martens

Potbase by Christoffer Martens

Name: Erik Wester

Born:

Oslo, Norway

Studies:

Furniture and product design, Kingston University London

Products:

Standing Task Light

Tartan Modular

Erik Wester

(smow)blog: Why the decision to become a product designer?
Erik Wester: That’s what I like doing! Since I was small I’ve been interested in drawing and building and was searching for what I could use my skills for and arrived at product and furniture design.

(smow)blog: And why the decision to study Product and Furniture Design at Kingston?
Erik Wester: London has a long design tradition, design is taking seriously there, it’s a big market, and also it’s a city with some very good designers.

(smow)blog: Did you have options to study in Norway, or…. ?
Erik Wester: Yes there were options, but it’s also nice to go abroad and study, especially in terms of the contacts you can make. And generally I think that studying in an international environment is an advantage if you want to start designing yourself.

(smow)blog: As a designer, who are your inspirations?
Erik Wester: There are so many good designers who regularly produce great works, but that doesn’t mean that I like all their works. One of my favorites however is Bertjan Pot, for me has many good ideas, ideas that he believes in, and you can see that in his designs. Also he’s an independent designer who has been successful with his own ideas, which I find really good.

Erik Wester - Standing Task Light. Appearances can be deceptive....

(smow)blog: Then after graduating, why the decision to move to Amsterdam?
Erik Wester: The main reason was an internship with Joris Laarman, I spent 5 months working there. Plus in Holland there is generally a very good atmosphere for design and I am also very interested in Dutch design and so was interested to see how it has developed in recent years.
Also everything is very close. For example the various components for the Standing Task Light are all sourced from people within a 15 minute bike ride of me. And so you can produce a ball joint two minutes away, and then a lamp shade 10 minutes in the other direction….

(smow)blog: That sounds like Jasper Morrison when he started, he also used to source suppliers in London from his moped…
Erik Wester: … and he’s also a Kingston graduate…

(smow)blog: … very true. Must be something in the water! Since we’re at the Standing Task Light, was that a university project, or…
Erik Wester: It began as a university project but at that time I only made a working model and so, while I really believe in the idea, I continued developing it after I graduated.

(smow)blog: And briefly what is the motivation behind the piece?
Erik Wester: A lot of my projects start with considerations as to how one uses things and how you connect with a product. In a way, how to make the product function in a warm way. And that was also the starting point here, how does one use a standing lamp and what must a standing lamp do.

(smow)blog: You’re now planning returning to Norway, is there a big design market in Norway?
Erik Wester: No. And so it’s therefore important that I remain active outside Norway, because not only is the market there smaller, but also the interest in design is quite different.

(smow)blog: Do you plan to remain working as an independent designer?
Erik Wester: Yes, I don’t think I can work for a boss. And so if it doesn’t work out I’ll have to try something else (laughs)
But no I will keep working, I have a lot of ideas and I want to keep producing things and so I will keep pushing on.

More information on Erik Wester can be found at http://erikwester.com/

Standing Task Light - Thanks to an innovative joint, the lamp stand and shade can be freely positioned for optimal illumination.

As much detail as we can show of the special joint developed by Erik Wester for his Standing Task Light

Tartan modular by Erik Wester

A modular shelving and storage system

Name: Christian Lessing

Studies:

Kommunikations Design und Illustration, Düsseldorf

Products:

Balcony 08

Leichtgewicht

Nachtflug

Window Garden

Grip Shelving

Christian Lessing

(smow)blog: How did you arrive at product design?
Christian Lessing: After leaving school I initially trained as a carpenter, then after a couple of years overseas I started studying graphic design in Düsseldorf. My specialization at college was Illustration, but I also built 3D objects. After finishing college I then worked as a graphic designer, without ever really enjoying it – and so moved slowly towards 3D, first interior design but then increasingly my own products and my own furniture.

(smow)blog: And has the path since leaving college been easier or harder than you imagined?
Christian Lessing: Definitely harder. At the beginning I had a lot of luck and some well paid jobs. But that didn’t last forever. Looking back I was very naive, and approached everything with very little strategy, and at times it was very hard to continue working as a product designer. As a graphic designer it’s all much easier.

(smow)blog: What do you understand as your role as product designer
Christian Lessing: There’s two things really. With the larger objects, so the furniture, I always try to produce something that improves on what is available or to create something that isn’t available – so not furniture for the sake of furniture but something functional. With the smaller objects my aim is to include some added value for the user.

(smow)blog: Can one speak of a Christian Lessing style?
Christian Lessing: I’m not sure if one could speak from style. Someone once said that with my work there was more that could be achieved, which I liked. One the one hand I have this illustrative approach, so I do approach my designs from the visual perspective, but principally I try to concentrate on the functionality. Also I don’t really like these big design projects such as sofa ensembles and such, my interest is much more objects for smaller spaces.

Balcony 07 by Christian Lessing - detail

(smow)blog: Which brings us neatly to your balcony design projects. You previously brought out a new balcony project every year. Do you plan to continue that tradition, or is that something that for you is now finished.
Christian Lessing: I think that it is large project area, and it’s certainly a subject that always produces positive feedback at exhibitions. This playing with small spaces, or how do I bring a little green to a compact space? I’ve sadly not yet found a producer who I could interest in the project, but I’m keen to continue with the work because I feel there is a lot of potential there.

(smow)blog: You do however produce some objects yourself, is that an area you plan to expand?
Christian Lessing: I produce a lot of the small objects myself, but I don’t want to produce the larger things myself, because I don’t want to be a dealer, I’m not good at such. I principally want to concentrate on the designing. Ideally I’d like to work more with producers and less self producing. Not least because it involves a lot of energy and I’d rather invest that in designing.

(smow)blog: It’s a couple of years since you finished college, what is the most important lesson you have learned?
Christian Lessing: That one must work a product through to end, from the initial concept through to marketing, the name, etc… And also that one needs to develop a sense for what could work and what probably won’t. I think every product designer begins with a table or a chair, which is extremely difficult because you’re then comparing your work with the big names. It is better to begin with those things that affect you, things that bother you, and to take that as your starting point.

More information on Christian Lessing can be found at at www.christianlessing.de/

Balcony 08 - part of Christian Lessing's "Balcony" series

Leichtgewicht by Christian Lessing

Nachtflug London - by Christian Lessing. we#re sure you get the idea...

Window Garden by Christian Lessing

Grip shelving by Christian Lessing

Not a word of a lie, we’re sitting here in Eindhoven planning an interview for later on today with some Portuguese designers – and we receive news that our current favourite Portuguese designer Rui Alves a.k.a. My Own Super Studio has been awarded a Red Dot Design Award: Best of the Best 2010 for his “Welcome to the Jungle” shelving/storage series.

Which is just wonderful, and deserved, news.

Congratulations to Rui, and enjoy Singapore!

Our (smow)introducing Interview with Rui Alves can be read here.

And tomorrow you should all find out if Rui is still our favourite Portugese designer….

Welcome to the jungle by My Own Super Studio. Now a Red Dot Winner

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Name: Eva Marguerre

Studies:
2004-2010 Product design/Exhibition design Hochschule für Gestaltung Karlsruhe

Internships:
2005 Luigi Colani, Karlsruhe
2006 Magazine “Brigitte”, Living Section, Hamburg
2008 Designbüro Stefan Diez, Munich

Products:
Tagträume
Nido
MOA

Eva Marguerre

(smow)blog: Why Product Design?
Eva Marguerre: That all started relatively early. For example, as a child I was interested in furniture and interiors and used to steal my mother’s magazines and cut out the things I liked. Then when I was 16 I completed a two week internship with two product designers in Krefeld and after that everything was decided and as I sat my final exams at school it was clear that I would study product design.

(smow)blog: And was that the correct decision?
Eva Marguerre: At the start of my studies I did spend a lot time considering if “product design” really was what I wanted to do, and in the 3rd semester I had more or less given up on product design. Then I did a internship at the magazine “Brigitte” working in the “living” section and learned what styling is and then I realized that what drives me is the mixture. For me it’s important to design my own furniture, but then I need to continue  working with it, to set it in scene but also the photographing of the pieces. So everything. Simply designing furniture isn’t enough.

(smow)blog: Which I suppose also explains why you also produce your own furniture
Eva Marguerre: Yes, I really enjoy switching between roles.

(smow)blog: And why did you decide to study at Karlsruhe?
Eva Marguerre: At Karlsruhe you have pure project studies, which means students from all semesters study together and so everyone learns from everyone else. Also at Karlsruhe you have interdisciplinary course and so I, for example, also covered exhibition design, graphic design, photography etc… My Diploma says “Product Design”, but my studies were much wider, which is good because product design shouldn’t stop when the product is finished.

(smow)blog: And did you also learn all the commercial aspects, so marketing, sales, pricing?
Eva Marguerre: No, unfortunately we learned nothing in that direction. And so I have had to learn such myself through experience.

(smow)blog: As a new, young designer do trade fairs help?
Eva Marguerre: That’s a good question and one I’ve considered a lot. When I first started I found it really stressful. You sit there with your prototypes, and wait and hope that a producer comes past who likes them. That said to a certain extent you have to do them because you want your products to be seen. But, for example, with NIDO I had to find the producer myself. But in general I’m not convinced that they help that much. What I do get from fairs is lots of feedback, and that’s important for me. Especially something such as Designers Fair in Cologne, because there you have a lot of people who wouldn’t normally go to a design fair and so you get really helpful feedback.

MOA by Eva Marguerre: First step - 2D weaving

(smow)blog: With MOA you work with elasticized yarn and resin, with NIDO it was fiberglass and resin. What interests you in the work with resin and materials?
Eva Marguerre: What I find really interesting is the before/after effect, the change in the material. With MOA it’s a 2D weave, so a very simple process and then I press the material over a form and the resin allows the moment to be frozen. And then that you can take such a pliant material which is then suddenly so stable and has a different character. That appeals to me.

(smow)blog: And are new products with new materials in development?
Eva Marguerre: We’re working on further development of MOA with a different texture, so a different material. Otherwise I’m mainly working with more classical materials such as wood, because I don’t want to just work with weave projects and with this before/after effect but I want to work with a range of materials and processes.

(smow)blog: And how does the future look?
Eva Marguerre: I’ve recently moved to Hamburg and at the moment am working with my partner on a large project. But at this moment I can’t say in which direction things will go. At the moment everything is still very new, recently finished college, moved to Hamburg and established my own studio…

(smow)blog: And been nominated for the 2011 Designpreis Deutschland! Is that for a particular product, or…?
Eva Marguerre: You’re nominated as person not for a certain product. The nomination surprised I am absolutely thrilled,  and the fact that you are nominated for it rather than applying is especially nice.

(smow)blog: Congratulations and all the best in Hamburg!

More information on Eva Marguerre can be found at eva-marguerre.de

MOA by Eva Marguerre (designed together with Marcel Besau)

NIDO by Eva Marguerre

Tagträume by Eva Marguerre

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Owner/Designer: Rui Alves

Established: 2001

Location: Paços de Ferreira, Portugal

Products:
Hold on
Sample
MIU
Fiss family
Welcome to the Jungle
Avô

Rui Alves - My Own Super Studio

(smow)blog: Why did you decide for a career in industrial design?

Rui Alves: It was more or less a natural decision; I grew up, and indeed am still, surrounded by family members who work with wood. And so I’ve always been surrounded by materials and tools and thinking about making things with my fathers and grandfathers tools. In addition I‘ve always loved to draw, and so in a way it was natural progression.

(smow)blog: Are there any specific influences in your design?
Rui Alves: My influences come from everywhere really, especially from everyday objects or just observing everyday life. And then also from the work of other designers, such as Charles and Ray Eames, Jean Prouvé, Dieter Rams – I really love the work of Dieter Rams – Konstatin Grcic, Stefan Diez, Jasper Morrison…

(smow)blog: …It’s interesting you mention such designers, because when we look at your work, we don’t see such influences.
Rui Alves: It’s less that I’m directly influenced but more, for example, I really like the work of Hella Jongerius, and especially the craftsmanship in her work. And so looking at her work inspires me to reach for the same. Or I really like the last chair that Stefan Diez created for Thonet with three dimensional elements. It’s not trying to copy what others do, but more being inspired through what others achieve.

(smow)blog: You also lecture at the local college, is that also something that influences your work?
Rui Alves: Of course, of course I learn all the time. Often the students come with questions or suggestions, for example, why we don’t try working with this material in this way; I really enjoy it and I learn a lot. And at the end of the day it’s good to spend a few hours a week hearing new ideas and seeing new approaches.

(smow)blog: And so you learn as much as your students…
Rui Alves: …Definitely.

Fiss Family by My Own Super Studio

(smow)blog: Geographically Portugal is quite far away from the main European markets, how easy is it as a designer in Portugal?
Rui Alves: It’s very, very difficult. We are a small country, and although we have good food and good weather – we don’t have a long history in industrial design. And for young designers it is especially difficult because here in Portugal we have a small market and only have three or four national producers. And so I travel increasingly to other countries to show my work.For example, I have exhibited at the last two DMY Berlin shows and it is incredible because I get so much more feedback outside Portugal than inside.

(smow)blog: Are there any design trade fairs in Portugal where you can show you work?
Rui Alves: We have Experimenta Design, which takes place every two years but there there is no realy opportunity for young designers to show their work. And I live near Oporto and recently they started a new design show, but the costs are so high that it is easier and cheaper for me to go to Berlin than 20 kms down the road.

(smow)blog: And how healthy is the Portuguese design scene?
Rui Alves: We have a lot of really good young designers here in Portugal, I think that we have a different approach to work than in other countries. I think it’s related to the light, Portugal is a country that has long periods of daylight all year round and we love color. But we really need more opportunities here in Portugal.

Avô by My Own Super Studio

(smow)blog: Color is a good word. When we look at your work, be it Fiss Family, MIU or Welcome to the Jungle we notice the color. Is that a deliberate characteristic of your work?
Rui Alves: Yes and no. I try not be afraid of colour. Portuguese art and design has a tradition of using lots of colour and so for me it is natural to use colour. However I do notice that some of my students are afraid to use too much colour.

(smow)blog: And what are your future plans?
Rui Alves: I’m currently working on a couple of new projects and next year will celebrate the 10^th anniversary of the establishing of My Own Super Studio. And so I am planning to show my work in Milan for the first time and am also hoping to organize a retrospective in Berlin during DMY week.

(smow)blog: Excellent. Looking forward to it.

More information on Rui Alves and my Own Super Studio can be found at http://myownsuperstudio.com/

Welcome to the Jungle by My Own Super Studio

Avô by My Own Super Studio

Fiss Family by My Own Super Studio

MIU by My Own Super Studio

Sample by My Own Super Studio

Hold on by My Own Super Studio

Owners/Designers: Alexander Stamminger and Nik Back

Established: 2007

Location: Blaufelden, Baden-Württemberg

Products:
Luca lean
Luca stand
Ten
Line
Turn
Superemma

maigrau: Alexander Stamminger and Nik Back

(smow)blog: Let’s start at the very beginning, where did you meet?
maigrau: We both studied Industrial design at the Kunstakademie in Stuttgart, and we have known each other since the first semester – so since 2003 – and we completed our studies in 2008.

(smow)blog: And immediately formed maigrau…
maigrau: … exactly. In principle we really started in our final semester. Our diploma project went a little in that direction, we also developed a couple of products and so it was a fairly fluid process.

(smow)blog: And why the decision to produce, market and distribute yourself?
maigrau: It was simply the basic thought it would be good when we could accompany our products through the complete process right up until the customer.

luca by maigrau

(smow)blog: And the commercial/business elements, did you learn these at college or was it more a case of learning by doing?
maigrau: If we’re honest that was a shortcoming of the course in that there wasn’t a great deal of business skills taught. And so we have had to learn a lot ourselves, be it price calculations or dealing with customers – specifically because as a producer/retailer we have different customers than those designers who simply offer design services to a client.

(smow)blog: And was it the correct decision?
maigrau: Definitely! And it’s a decision we’d make again. Sure it’s a stressful path with some hard periods at the beginning but over time and through the experiences one learns.

(smow)blog: And in that context congratulations on the nomination for the 2011 German Design Prize.
maigrau: Thank you. We’re absolutely delighted. And obviously it’s a little bit of recognition that what we are doing is correct and that we do it well. It’s a nice feeling to be nominated for such a design prize.

(smow)blog: Where do you want to take maigrau in the future?
maigrau: Obviously we want to expand our collection, one of the one hand as designers we naturally want to continue designing products ourselves, but on the other we can also imagine developing products for maigrau in cooperation with other designers.

(smow)blog: One of the new products is the side table Turn. What was the motivation behind the table?
maigrau: We were interested in producing  a modern side table  which was also vaguely reminiscent of typical works from the 1950s.  The turned wooden legs combined with the thin 3mm steel top produce a very simple, yet new form.

Turn by maigrau

(smow)blog: The table comes in two heights, Luca comes in two forms, the shelving in two lengths, is there a deliberate plan to produce your objects in different versions?
maigrau: It’s not exactly deliberate, but it is often that case that such an option presents itself. From a development perspective the creation of a larger version doesn’t automatically mean more work and because we organize the production ourselves here in Germany we have direct control. And so the development of different versions or the further development of a design is often a sensible, obvious step. For example, in the autumn we plan to launch the further development of the luca lamps.

(smow)blog:Then all the best and good luck for the future!

More information on maigrau can be found at at maigrau.com/

Luca lean by maigrau

Turn by maigrau

Luca stand by maigrau

Ten by maigrau

Superemma clothes rack by maigrau

Line shelving by maigrau

Name: Stephan Schulz

Born: Schwerin, 1983

Studies:
2003-2009  Industrial Design, Burg Giebichenstein, Halle
2007-2008 Erasmus studies at the Design Academy Eindhoven

Internships: 2008 Bellini Design Studio, Milan

Products:
Stellvertreter for Nils Holger Moormann, Aschau im Chiemgau
Concrete bowl series “frisch ausgeschalt” for Betoniu, Leipzig

Stephan Schulz

(smow)blog: Why Industrial Design?
Stephan Schulz: It sort of just developed. I’ve always built things and experimented with different materials, and everything somehow came together. I’ve always had this need to create things and to work with objects.

(smow)blog: Any particular influences on your development?
Stephan Schultz: As a designer you are always influenced, much of it subconscious. I think its fair to say that my generation, at least here in Germany, has been influenced by Konstantin Grcic. Although in design influences are necessarily always positive. The first time I was really aware of design was Bauhaus, especially the work from Mies van der Rohe. But I honestly couldn’t hold one person up as an influence.

(smow)blog: Why did you decide to study at Burg Giebichenstien?
Stephan Schulz: It was one of the first colleges I applied to. I passed the test, the school has a good reputation and the town itself appealed to me.

(smow)blog: You are now finished with your studies, have taken up a studio here in Design Haus Halle, do you plan to remain here in Halle?
Stephan Schulz: Initially yes. On the one hand here I have the opportunity to use the college workshops, and on the other if I was to go elsewhere I would never find a studio as cheap as here in the Design Haus. Also here I have my network of contacts which at this stage in my career makes everything much simpler. That said I’m not permanently fixed to Halle, not least because I’m not from here.

Stellvertreter by Stephan Schulz for Moormann

(smow)blog: You are still at the start of your career, but what is the highpoint thus far?
Stephan Schulz:
[laughs]
I really am at the very beginning, but the highpoint is definitely the coat rack from Moormann [Stellvertreter]. I completed my degree three months ago and last year during my studies brought a product on the market with a producer. And yeah that is the highpoint.

(smow)blog: And how did your concrete bowl end up in the Vitra Design Museum Exhibition “The Essence of Things. Design and the Art of Reduction”?
Stephan Schulz: Martin Hartung, one of the Vitra Design Museum curators saw it in another exhibition, liked it and included it. [laughs] Sometimes it really is that simple.

(smow)blog:When we think about your concrete bowl, on your clay panels or your wood and china articles. Do you like working and experimenting with different materials?
Stephan Schulz: Definitely. I couldn’t specialise on just one material and say I’m only going to work with china, or I’m only going to work with concrete. For me that is the most interesting on industrial design, that you can go in any direction and experiment as and when you want.

(smow)Blog: And in general, where do you see your future?
Stephan Schulz: I have specialised on furniture and interior products and want to develop in that direction. I don’t want to just make individual objects, I also want to create products for series production.  As a designer you have the need to show that what you create works, also in terms of producibility. That the market is currently over saturated many designers are currently going in a more artistic, experimental direction. It’s part of the job and often the first step, but my goal is to bring products to the market that people are happy to buy.

Concrete bowl by Stephan Schulz for betonui

(smow)blog: In that context, as a young designer, how do you reach producers?
Stephan Schulz:It’s difficult. I don’t really know. Obviously you go to exhibitions as the principle method of exposing your work to the public, but it is very difficult. With Nils Holger Moormann I showed him the product and he liked it. Which is obviously the perfect scenario. But such is also the exception, and the next 10 times it wont work.
It’s a long hard road. And the biggest problem is that there is no marked paths. No one can tell you how you should proceed or how you should approach a producer. It’s a long hard road.

(smow)blog: Then good luck!

More information on Stephan Schulz can be found at at studio-stephanschulz.com/

Comfy Cargo Chair by Stephan Schulz: An empty frame you can fill according to mood and situation

Foam soft pad chair by Stephan Schulz

Bone china jugs by Stephan Schulz

Tischlader by Stephan Schulz

Effortless and relaxed as this all seems, our reality is a life in constant motion as we move from one appointment to the next.

As one press release closes, another opens. As it were.

And along the way we meet an awful lot of excellent design from designers who simply can’t command the publicity of a  Philippe Starck, Verner Panton or Jasper Morrison.

Which isn’t really fair as the work is often just as good.

And so in our new, irregular, series (smow)Introducing we aim to present some of these young designers, their work and for all the process and philosophy behind the work.

For all we aim to concentrate on young designers from Sachsen Sachsen-Anhalt and Thüringen, drawing to a large degree – though not exclusively, – on design schools such as Burg Giebichenstein, Bauhaus Weimar or Schneeberg.

All articles and interviews can be found under the category (smow)Introducing