At the end of March the V&A Museum London opened the exhibition “British Design 1948-2012. Innovation in the Modern Age”, their major summer exhibition and a central pillar of their celebration of all things British throughout 2012.

Documenting the story of design in the UK since the last London Olympics, “British Design 1948-2012″ begins in an era when Britain as a nation was recovering from the trauma of the Second World War, yet understood that in the rubble of the war lay the chance to renew its society and economy and so build for a brave new future.

And walking round “British Design 1948-2012″ one is confronted by the inescapable truth that it was this process of renewal that was to lay the foundations for the story of modern British design.

For through the social re-organsiation, massed immigration, youth unemployment, et al the first youth sub-cultures emerged and as the exhibition makes very clear it is culture, specifically youth culture, that has been the biggest definer in the story of British design since the war.

A few years ago John Major famously spoke of Britain being about long shadows on cricket grounds and warm beer. There is no reference to such aspects of the British psyche in “British Design”, save a fleeting if heartfelt appeal from Laura Ashley and a few contemporaries who were obviously struggling to come to terms with the decline of the empire, erosion of social boundaries and uncouth brutalist architecture sweeping the nation.

Their flirtation with a historical revival however is nothing more than an interesting blip on an otherwise uninterrupted trajectory. As Leith’s leading cultural commentator would no doubt put it.

We’re not saying that all British design episodes have had their origins in youth culture.

Nor are we saying that Britain’s best designers were even influenced by the island’s youth. Jasper Morrison, for example, became the designer he is because he visited a Memphis Group exhibition in Milan and then spent time in Berlin with Andreas Brandolini, Axel Kufus and other members of the “Neues deutsches Design” movement.

However what is unmistakable is the thread of youth culture that runs through the story of British design right up to the present day.

Well, no that’s not entirely true.

Somewhere in the late 1990s the thread vanishes, but we’ll come to that….

A section from "The Englishman's Home" by John Piper greets visitors to "British Design 1948-2012: Innovation in the Modern Age" @ the V&A Museum London

Taking a very wide definition of “design” and then squeezing as much as they can out of the sub-categories “British Design 1948 -2012″ is reminiscent of an Essex Plaice – much wider than it is deep.

A fact that doesn’t necessarily harm the exhibition or the visitor experience. It is after all a special thematic exhibition.

In a soon to be published interview, the director of a major European design museum tells us that, in effect, the role of museums is to use their collections to tell stories; they just need to decide which stories they want to tell. The V&A has decided to delve into the depths of its British collection to place post-war British design in its social, cultural and historical context

And has done that very well.

From the brutalism of the 1950s over the swinging sixties onto seventies punk, eighties rave, nineties Cool Britannia, and beyond the exhibition presents over 350 exhibits that wonderfully explain the development of design in the UK.

And ultimately poses one very obvious question. The 1948 Olympics and subsequent Festival of Britain kick-started the post-war British economy. What will the 2012 Games bring?

There is a great deal of expectation on the British Isles that the 2012 Olympic Games will also herald a brave new age.

They wont.

All the objects in the early decades of the exhibition were produced in the UK. We suspect largely out of necessity; there was no alternative. Today goods can be produced abroad. And the creations of the leading contemporary designers largely are.

Barber Osgerby currently work with Vitra, Magis, ClassiCon, flos. Benjamin Hubert with De Vorm, De La Espada, &Tradition. Doshi Levien with Moroso, Cappellini, Richard Lampert.

We approve. That’s good. And is a situation that, if we’re all honest, is unlikely to change. But does mean that regardless how successful British designers become, their contribution to the UK’s GDP will remain negligible.

Then there is the nature of British design, for as the exhibition beautifully illustrates, Britain’s “contemporary design tradition” is largely based on creating iconic, stylish and attractive objects. “British Design 1948-2012″ doesn’t feature any objects that one could say are truly innovative or started any particular global design movement.

“What about Concorde?” We hear the Daily Mail readers at the front of the class cry.

“Co-developed with the French and while unquestionably an iconic symbol of luxury air travel, what did Concorde actually contribute to modern aviation?” We reply.

And Jonathan Ives may have been knighted for his services to design: but he of course doesn’t create what happens inside apple products. Just ensures that they look good. Or, put another way, creates iconic, stylish objects in the finest British design tradition.

As we’ve often stated, in the decades after the war increasing disposable incomes and social security created a market for consumer goods of the sort the likes of Mary Quant or Terence Conran were producing.

And the British youth with their unfaltering ability to transform harsh social reality into creative energy provided the musical backdrop. British design became part of a British style that was the envy of the world.

First punk and later rave may have superficially torn up the rule book; were in reality still based on standardised iconic symbolism underscored by new genres of music and literature.

Which means that to remain truly distinctive and desirable British design needs its yoof.

Oh, hang on…..

As we said, sometime in the mid 1990s one loses track of the youth culture thread. And while we’d love nothing more than to blame Damien Hirst and his YBA cronies. We can’t

The problem is the internet, a medium that by its very nature snubs out youth cultures before they have a chance to establish themselves. The increased pace of our digital world meaning a mass movement like rave, arguably the last great youth culture and one which catapulted designers such as Tom Dixon into the limelight, will probably never again be possible.

And without the youth sub-cultures….

The “British Design 1948-2012″ exhibition design was created by Ben Kelly. Who designed Malcolm McLaren & Vivienne Westwood’s Kings Road boutique SEX. And the interior of the Hacienda.

We can’t think of a more appropriate example for the importance of youth sub-cultures in guiding the fortunes of British designers.

Part of the Hacienda interior as created Ben Kelly. And as displayed at British Design 1948-2012 Innovation in the Modern Age. Exhibition design by .... Ben Kelly.

We’re not saying the situation is hopeless. British designers will undoubtedly remain very much in demand. But their careers will become increasingly dependent on foreign producers, producers whose commissioning decisions are based on global marketing and sales strategies rather than the organic, grassroots movements that established British design’s reputation. As such the “British” in “British Design” will become increasingly difficult to define. But that is a question of national pride. Not design theory.

Consequently, “British Design 1948-2012. Innovation in the Modern Age” can either be viewed as the documentation of the past sixty years of British design combined with an attempt to place British design in a global context as the curators intended. Or as the first major retrospective of the Golden Age of British Design.

Either way it is an important exhibition and definitely worth viewing.

British Design 1948-2012. Innovation in the Modern Age runs at the V&A Museum London until August 12th 2012.

Getting ready to sail off into the sunset? A scale model of Concorde at British Design 1948-2012 Innovation in the Modern Age

The first semi-final of the 2010 (smow) designer furniture World Cup pitted not only two generations against each other but two approaches to design: Fritz Haller the classically trained Swiss linealist and Tom Dixon the warehouse party welder turned doyen of contemporary English design.

As ever Fritz Haller began with his universally acclaimed System USM Haller formation. The international success of Haller’s USM Haller system is largely due to its deceptive flexibility: It looks rigid and firm, but in reality can be quickly altered to meet any demands.

Tom Dixon is however too long in the tooth to be easily taken in by Fritz Haller’s approach, and it was the improbable former Habitat chief designer who made the first serious move with an excellently worked Spin candelabra. Although thrown by the unusual combination of weight and mobility Fritz Haller is a master with metal and he was able to counter with a delightful hanging file / extension door combination.

Switching tactics Dixon produced an ingenious wooden Offcut stool; an article which again seemed to have Haller beaten, the old master however recovering in the last minute to clear with a glass table top.

In the second half England brought on Jasper Morrison in the hope that the change in style would upset Fritz Haller – it didn’t and late in the second half Fritz Haller demonstrated once again why his USM Haller system is so good when he effortlessly converted a lowboard L into a sideboard M for a hard fought victory.

(smow)2010 Overview

For Charles Rennie Mackintosh the 2010 (smow) designer furniture World Cup may have been over; but matches against England always have their own incentive.

With Tom Dixon replacing Jasper Morrison, the English took an early lead with the Dixon Bronze Copper Shade and moved further ahead with a beautifully worked Off Cut stool.

In the second half Charles Rennie Mackintosh narrowed the gap with his Hill House chair; however Tom Dixon responded with a quick Wingback Chair and Spin candelabra combination for a deserved 4:1 victory.

The Group C table and all Group C results can be found here.

Kete by David Turnbridge

The Top 5 Lamps from the smow design spring. In no particular order.

Kete by David Turnbridge. One of the first lamps we saw in Milan, and probably that which left the greatest impression on us. And not merely on account of its size. For us the principle beauty of Kete is the atmosphere it can create in a room with it 7W LED element. And despite their overproprtionality Kete doesn’t domiante the room. Honest.  Kete. Anything but dull.

moooi.

Beachballs by TOBYhouse at designersblock, Milan

Beach Ball Lamps by TOBYhouse. When we first saw Beach Ball Lamps we thought they were made from shaped aluminium. So stable and rigid are they. Only after entering into converstaion with designer Toby Sanders did we discover that they are real beach balls. And that was when the product became magic. That was the moment when we realised and appreciated just what a product we had before us. And that was the moment when we started to investiagte more carefully. Through a specialy developed process TOBYhouse coat the inside of the balls with a thin polyeurethene coat, before cutting the bottom open and rounding the edges. And with it’s brillant white interior Beach Ball Lamps offers an excellent illumination. Beach Balls Lamps. Anything but dull.

moooi.

Flatline by Jason Brugges for Established and Sons

Flatliner by Jason Bruge for Established and Sons. We don’t own an iPod which is probably why we took a  couple of minutes to get the hang of the control system. Had it been based on an MD player we would have got the hang of it much quicker. However, once up and running we were in awe of Jason Bruge’s genial dimming system. And the quality of the illumination generated is every bit as convincing. If you don’t know what were talking about, check out our (smow)tube video. Flatliner. Anything but dull.

moooi.

Fiss Family by My Own Super Studio

Fiss Family by myownsuperstudio. DMY in Berlin was full of lamps. We’re not exactly sure why but we’re fairly certain it had something to do with students being set lamp design as part of their final year project. A sort of conspiracy among product and industrial design lecturers to make earth shine more brightly than the sun. Fiss Family by Portugese outfit myownsuperstudio wouldn’t have been much help in such a plot, but was without doubt one of the finest lamp ranges we saw this spring. For us the beauty lies in the fact that the light flows downwards; consequently, they don’t produce the brightest illumination, but that which they do produce is amongst the softest we saw this spring and certainly the best intended for a living room or office when you want a gentle background light or constant, atmospheric illumination. Fiss Family. Anything but dull.

moooi.

Spin by Tom Dixon

Spin by Tom Dixon. Not a lamp in the popular, modern electrified sense. But then were not sticklers for convention. Correctly used candles can offer a better, more positive illuminaton than their modern cousins. The trick is the “correctly used” part. With Spin Tom Dixon offers a wonderfully stylish opportunity not only to illuminate a space as we want it, but also to change the illumination as and when required. Spin. Anything but dull.

And a special mention goes to moooi for their Horse Lamp.

For us one of the discoveries of the ICFF was Brooklyn based designer Jason Miller.

Miller’s design contains undeniable elements of contemporary European design, albeit effortlessly combined with, for our opinion, classic European stereotypes of retro-NYC style.

We promised a text on post-colonialism in US design … and like all at smow we always keep our promises.

Duct Tape Chair by Jason Miller

Miller’s Duct Tape Chair, for example, is more than a wonderfully comfortable armchair. Reminiscent in many ways of Easy Chair by Klauser and Carpenter for Established and Sons, Duct Tape Chair is also a wonderfully constructed, wonderfully considered and wonderfully aesthetic piece. In the course of the ICFF we spent a lot of time in Duct Tape Chair and are certain that one could spend an enjoyable evening in it – preferably with a Brooklyn Lager, a bagel and the company of your favourite friendly, back-chatting, big suit wearing pimp.

Jason Millers Stand in New York - in foreground the new Modular Chandelier

Much like Manhattans lower east side Millers Modular Chandelier at first appears as an overbearingly garish and impractical construction; until you experience it en persona. Then you quickly see and appreciate the true functionality, beauty and charm of the lamp. Or the inner-city district. Called “modular” because one can configure and re-configure it as required, the work oozes Tom Dixon, yet isn’t, and can’t be.  There is, simply put, too much happening in one product for it to be European. Modular Chandelier is not yet available, but should be on the market later this year. We are already on the waiting list.

Tints by Jason Miller

What, however, first attracted our attention to Miller was his Tint tables. And that independent of our problems here at ICFF. In Milan one of the products that made us stop and smile was the Trattoria Chairs by Jasper Morrison for Magis. And we saw similar genius in Millers Tables. Whereas Morrison’s chairs wonderfully play on the traditional image of the the woven Trattoria chair, Millers tables recreate late 1970′s low-paid, inner city New York interior styling. We’ve seen the movies, we know what we’re talking about. The bonbon plexi-glass and the beautifully, deceptively crafted wooden legs convey cheap; a closer inspection and a couple of questions on the production process, however, reveal the real quality and value of the product. We were not only greatly impressed by Tints, but also over-joyed to find such a excellent, fresh and thoughtful product.

All in all Millers collection left us with a positive feeling, for all through the craftsmanship, talent and freshness of the work.

The first thing we Europeans brought to America was a twisted form of Christianity, a distaste for all exuberance and a culinary preference for root vegetables. The Americans sent us backa twisted belief in the value of brands, a distaste for the long-term and a culinary preference for lightly fried industrial meat products. Jason Miller‘s work is the evidence that amongst designers a similar exchange process is continually occuring, and that such an exchange can also bring positive benefits for all.

This model is not Jason Miller. The products however are. Our model sits in a Duct Tape Chair, beside him a Tints table. In the background is the wonderful, Colomboesque Spiral Lounge lounger/sofa/day bed

We came, we saw, we sat on the floor…

But it needn’t have been so…..

Once again the Europeans show the Americans how it should  be done. One of the largest stands in New York was that from the Saloni Milano -a  mix of the finest Italian designers: And they brought their own press room. No electricity, no Internet…but tables. And coffee.  How fondly we look back on April….

Press Lounge at the Saloni Milano Stand: First Chair and First Table by Stefano Giovannoni

Although greatly impressed by the typewriter, we also liked Desk 51 by American producer bludot as a desk. Personally we wouldn’t use the pull out lower surface, as suggested,  for stowing a keyboard; much more the beauty for us is that you can “hide” piles of papers, notebooks and the like when the desk is not in use. And so give the impression at least that your desk isn’t cluttered.

Desk 51 and Real Good Chair from bludot

We don’t neccesserily need a large table… a small side table will do. For example the stable, yet practically height adjustable Tom Tom by Konstantin Grcic for SCP.

Tom Tom by Konstantin Grcic for SCP

Or the gorgeous Spot Table by Tom Dixon with its interchangeable height stems….

Spot Table by Tom Dixon

But what does all this help, we don’t have a table…and so nowhere to place the Foster Series desk accesories by Sir Norman Foster for Helit :(

Foster Series by Helit

A Thursday evening in New York and the finer elements of Manhattan society meet to celebrate the opening of the Smithsonian Institute’s Cooper – Hewitt National Design Museum “Design for a Living World” exhibition.

Your (smow)blog team are of course also in attendance.

Hella Jongerius mixing chicle in Mexico

For the exhibition The Nature Conservancy sent 10 designers into rural environments and asked them develop new uses for sustainably grown and harvested materials. The aim being to tell a unique story about the life-cycle of materials and the power of conservation and design.
Among those taking part were Ezri Tarazi, Stephen Burks and “the worlds busiest designer” Hella Jongerius, who created some interesting pots out of chicle from the Yucatan Peninsula; although she did also admit that the material is not ideally suited to industrial production.

So don’t watch this space, as it were

Abbot Millers chair from sustainably harvested Bolivian plywood

All in all the exhibition was principally interesting for the insight into the design process – the products themselves far too often coming over as emergency solutions based on a shortage of time and an obligation to produce something … anything … HELP!!!!!
That said aside from Jongerius work were were also very impressed with the chairs by US designer Abbott Miller.

System USM Haller at the Cooper-Hewitt National Design Museum shop

What also impressed us was the use of system USM Haller in the the museum shop; and for all how effortlessly the simple, minimalist  USM Haller vitrine’s blended in with the historic wood paneling.

It was genuinely stunning to observe.
A trip to the museum is almost worth it for that alone.

USM Haller as enhancement for traditional interiors

In addition to the “Design for a Living World” exhibition, the Cooper-Hewitt National Design Museum is also currently showing an exhibition on and about felt. Now felt never was our thing. And never will be.

Just like pub pies – we’ve had too many bad experiences.

Feltri Chair by Gaetano Pesce for Cassina

However, if we did like felt we would love this chair by Gaetano Pesce for Cassina or Tom Dixon‘s felt lampshades.

But as we said – felt.

All in all though, if you are coming to New York and want to take a little time out of the “normal” tourist trail, it is always worth checking out what is on at the Cooper-Hewitt National Design Museum.

“Design for a Living World” runs until January 4 2010, “Fashioning Felt” till September 7, 2009.

smow at ICFF

Sometimes we get the feeling no one really wants us here in Leipzig.

Not that we are complaining – or at least not when avoiding our company means sending us to the International Contemporary Furniture Fair and New York City.

From May 14th until May 19th your (smow)blog team will bring you all the important stories, new products and general lunacy from Vitra, Kartell, Magis, Tom Dixon and all the other exhibitors at North America’s premier designer furniture trade fair. And not just from the official exhibition. As you would expect the (smow)blog team will also be out and about “off-ICFF”.  Aside from casting our critical eye over the new(ish) Droog store in SoHo or the new Moooi presence at B&B Italia’s Manhattan store, we will also be on the look out for the newest, freshest and most innovative design and product development the US has to offer.

And as if that wasn’t enough we guarantee at least one post on the subject of post-colonialism in contemporary US design.

We can’t wait

The only slight downer on the whole expedition is that we will now miss the ever excellent (pop up new music festival and forum here in Leipzig. Especially annoying is that we will miss the Art Brut concert on 16.05 – although in it’s place we do admittedly have Tablefights in Chelsea.

Keep up to date with all the best from the city that never washes either here in the (smow)blog, on twitter or on youtube.

And feedback is positively encouraged.

smow in Milan - Graffiti at Tom Dixon

Graffiti is the plural of the Italian word graffito meaning “writing” and as already reported is a highly regarded art form in Leipzig which we at smow like to export.

And so when we saw a blackboard and chalk at Tom Dixons stand in Superstudio Pia how could we resist.

British designer Tom Dixon’s Milan 2009 show is taking place under the motto “Back to Basics – Utility”.

Screw table by Tom Dixon

A title that refers less to a return to minimalistic design – Dixon never was one for the overly ornate – and more to the materials used in the design; in the designers words “the collection uses some of the most basic and primitive of materials, re-thought for the modern age”

Among the new items that caught our attention was “Screw Table”. Constructed from “one bomb proof heavy cast iron tripod” and a solid marble top, “Screw table” posses a remarkable and unexpected subtlety and through the simple screw height adjustment can be employed in a wide range of settings.

Spin by Tom Dixon

But also some of the not sssooo new if also not so old Dixon creations continue to impress. His Spin candelabra, for example, remains for us a touch of true genius – a candle holder that revolves independently around several axes and so can be adjusted to suit location and ambiance.

For those not familiar with Dixon’s work it is well worth investigating.