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Design & Interiors

In/Out - OUT/ABOUT: Coqui Coqui Perfumery Yucatán

In/Out - OUT/ABOUT: Coqui Coqui Perfumery Yucatán

In/Out - OUT/ABOUT: Coqui Coqui Perfumery Yucatán

In/Out - OUT/ABOUT: Coqui Coqui Perfumery Yucatán

In/Out - OUT/ABOUT: Coqui Coqui Perfumery Yucatán

In/Out - OUT/ABOUT: Coqui Coqui Perfumery Yucatán

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In/Out - OUT/ABOUT: Coqui Coqui Perfumery Yucatán

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The Coqui Coqui brand story is a rather romantic one, organically expanding from a simple humble little spa safari tent on a beach to a perfumery and now to four highly sought-after hotels and spa residencies, as well as a full range of boutique products. What ties Coqui Coqui together is the Yucatan Peninsula, a flat, limestone-rich stretch of southern Mexico, scattered with palm trees and white sand, hot sun and coconuts! Owned and run by husband and wife duo Nicolas Melville and Francesca Bonato, the Coqui Coqui brand has at its heart one particularly dreamy sense of place.

From the first time he visited the Yucatan, Melville was instantly captivated. With an interest in botanicals and a background in landscape architecture, the natural environment, traditional buildings and way of life appealed immediately – so much so that he relocated to the Yucatan to set up what would be the beginning of Coqui Coqui, a simple massage tent on Tulum beach. Not long after, Bonato happened upon the place while on holiday. Falling in love instantly; Coqui Coqui would then become a joint venture of love and creativity between Melville and Bonato. The tent that offered tea and massages became a house (built on the same beachfront land) with a spa and boutique, then the duo began renting the house because “friends and family started asking for rooms and a place to stay,” and – as if by accident – Coqui Coqui Tulum was born. Coqui Coqui Coba, Coqui Coqui Merida, and Coqui Coqui Valladoid (which houses the perfumery) followed, each located in their own special location across the region.

Captivated by the dreamy landscape, the local building techniques, the handcrafts and the general way of life, a philosophy that celebrates the Yucatan was only natural for the pair. “It’s really going back to our roots, a healthy and simple way of living,” says Melville. Coqui Coqui products are locally sourced ingredients, “We weren’t going to buy shampoo at the supermarket,” says Nicolas, “so we found a guy here that makes incredible shampoo by hand with the pulp from locally cultivated aloe vera plants.”

The hotels have an effortlessy beautiful appeal, a kind of bohemian romance that respects the local aesthetic – rich, earthy colours and gentle hues, fresh cotton fabrics, roughly polished floors, understated furniture and hand-made accessories. At Coqui Coqui Tulum, for example, the beach front structure is made from limestone, as if extending from the very earth that it sits upon.

In the same vein, the Coqui Coqui perfumes are made with native ingredients and artisanal production, blended at their flagship perfumery in Valladolid, and inspired by the truly local. From warm and woody scents, to alluring hints of spice, to notes of sweet coconut and citrus, fresh flowers or smoky tobacco, every perfume embodies the romance of the Yucatan. Each hotel has its signature scent; Coqui Coqui Tulum having ‘Coco Coco’, created from three different coconuts that grow on beaches nearby, and ‘Orange Blossom’, which has become “the signature smell of the hotel.”

It is a romantically simple sentiment to honour the landscape so poetically. As Melville sums up himself, “The Coqui Coqui brand showcases a lifestyle; a cocoon which represents the flora, the earth, the fruit, the woods and the landscape, the folklore and the traditions of the culture: At the soul of everything is the Yucatan.”

Credits: The Line

Coqui Coqui

IN/OUT: Michael Anastassiades 2015

IN/OUT: Michael Anastassiades 2015

IN/OUT: Michael Anastassiades 2015

IN/OUT: Michael Anastassiades 2015

IN/OUT: Michael Anastassiades 2015

IN/OUT: Michael Anastassiades 2015

IN/OUT: Michael Anastassiades 2015

IN/OUT: Michael Anastassiades 2015

IN/OUT: Michael Anastassiades 2015

IN/OUT: Michael Anastassiades 2015

IN/OUT: Michael Anastassiades 2015

IN/OUT: Michael Anastassiades 2015

IN/OUT: Michael Anastassiades 2015

IN/OUT: Michael Anastassiades 2015

IN/OUT: Michael Anastassiades 2015

IN/OUT: Michael Anastassiades 2015

IN/OUT: Michael Anastassiades 2015

IN/OUT: Michael Anastassiades 2015

IN/OUT: Michael Anastassiades 2015

London-based, Cyprus-born designer Michael Anastassiades is a master of balance. His collection of fifteen new designs launched at Salone del Mobile in Milan earlier this year, is minimal and elegant, quite exclusively focusing on the purity of line and simple geometry.

A lyrical extension of Anastassiades’ previous pieces, the 2015 collection explores mobile chandeliers and spherical lamps in deftly explores re-configurations of the simple sphere, as well as subtle deviations away from it. Each piece in the Bob family, for example, is derived from the common levelling tool the ‘plumb bob’. While taking a slightly more organic approach, however – also introducing a curve to the Mobile Chandelier series – the range is no less harmonious.

In each family of lights, proportion is central. To achieve the particular sense of balance Anastassiades does, one that is surprising and yet wholly satisfying to the eye, he seeks to create a perfect ‘equilibrium’. In Happy Together, for example, vertical rods (in brass, nickel or black-patinated finishes) are exaggerated in length, the long elegant arms quite perfectly off-setting the delicate, glass spheres they hold. “The idea is almost like an exercise in some sort of mathematical sequence, exploring how you position these things together,” says Anastassiades. “It’s quite a playful way to address light.”

Credits: Michael Anastassiades

Michael Anastassiades 2015

Moving Mountains

Moving Mountains

In/Out: Moving Mountains

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In/Out: Moving Mountains

In/Out: Moving Mountains

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In/Out: Moving Mountains

In/Out: Moving Mountains

In/Out: Moving Mountains

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In/Out: Moving Mountains

There’s a fine, often confusing, line between art and design. What distinguishes one from the other? Can something be both? Are there rules? Moving Mountains, a New York-based studio founded by designer Syrette Lew, treads this precarious intersection, even bringing fashion into the mix, and quite purposefully. Syrette would like to be known as “a contemporary designer, but not just for furniture. I want to do products, clothing, jewellery and even pop-up shops,” she says, “I don’t want to be confined to any one thing.” So perhaps it is difficult to define what she does precicely, but we’re not convinced that it matters, and nor is she.

Taking the direction of her career in her own hands, after leaving a five-year long stint working for West Elm, Syrette began Moving Mountains and designing (but not making, which she leaves to her stable of craftsmen) mostly custom-made pieces that are part-art, part-design. The pieces are artful and practical; they stand the test of time and usually have a strong concept embedded in them, or a little detail that makes you take a second look. Take the Palmyra Lamp, a stunning piece of art on the one hand (just imagine this in your home), which is named after the ancient caravan city in the Syrian desert that now sits as monumental ruins in the sand but lives on through its name – given to a species of majestic palm trees found in the tropics and an atoll in the Pacific. On the other hand, Palmyra is a working light with excellent form.

Among the Studio’s collections of furniture and accessories are the usual suspects – tables, benches, lamps, as well as bags and jewellery. Moving Mountains also does one-off projects, like the custom newsstand they made for fashion house COS, if it feels right to do so.

With Moving Mountains, there are no definite rules. It’s inspiring to see a studio forging their own definition of what design is.

Credits: Moving Mountains

Moving Mountains

In/Out: Fabien Cappello ‘Shapes II'

In/Out: Fabien Cappello ‘Shapes II'

In/Out: Fabien Cappello ‘Shapes II'

In/Out: Fabien Cappello ‘Shapes II'

In/Out: Fabien Cappello ‘Shapes II'

In/Out: Fabien Cappello ‘Shapes II'

In/Out: Fabien Cappello ‘Shapes II'

In/Out: Fabien Cappello ‘Shapes II'

In/Out: Fabien Cappello ‘Shapes II'

Fabien Cappello treads the line between artist and designer. His Shapes II, part of an extended campaign for Danish textile house Kvadrat, is a collection of suspended abstract shapes, joyfully coming to life as a suspended mobile of form, textile and colour.

Cappello’s Shapes II, created in collaboration with London based graphic design firm Graphic Thought Facility, are free-formed, stretched into aluminium frames and suspended from the ceiling; their silhouettes floating and creating a delicate play of light, shadow and colour. The continuing ‘Shapes’ series is united by a strong sense playfulness yet beautifully captures the meticulously crafted colour stories. Each arrangement is its own celebration of the depth and quality of the Kvadrat palette – a work of art in its own right.

Credits: Fabien Cappello

Fabien Cappello ‘Shapes II’

In/Out: Sophie Buhai Object

In/Out: Sophie Buhai Object

In/Out: Sophie Buhai Object

In/Out: Sophie Buhai Object

In/Out: Sophie Buhai Object

In/Out: Sophie Buhai Object

In/Out: Sophie Buhai Object

In/Out: Sophie Buhai Object

In/Out: Sophie Buhai ObjectIn/Out: Sophie Buhai Object

In/Out: Sophie Buhai Object

In/Out: Sophie Buhai Object

In/Out: Sophie Buhai Object

In/Out: Sophie Buhai Object

In/Out: Sophie Buhai Object

Objects – “Curated and Designed” is a compilation of absolute treasures fom LA’s Sophie Buhai. Her eye for extraordinary objects and fine furniture is exemplary – thumb indented glass bowls, marble caressed into form, and chairs poised with character – a balanced collection full of soul, handcrafted, considered, and delivered with pride.

An eclectic mix of vintage and modern laced with Buhai’s own striking jewellery – harmoniously just at home next to a double ended Ikebana vase than worn on a wrist. The pedigree is not the focus here, an the unknown wooden timber sculpture nestles with Nathalie Du Pasquier’s Memphis napkin rings, Buhai’s collection not about the name but about the inherent emotion and depth discovered in each object.

When you view her collection it’s like stumbling upon the most fabulous flea market. Behold the beauty.

Credits: Sophie Buhai

Sophie Buhai Objects

In/Out - CHAT IN A CHAIR: NICKY LOBO

In/Out - CHAT IN A CHAIR: NICKY LOBO

There are some people that seem to posses a particularly special quality. Something you may not be able to put your finger on instantly, but that you sense as soon you meet them. Nicky Lobo is one of these people. Meeting this creative woman, the now-Editor of Habitus Magazine, leaves you feeling calm, inspired and a little closer to what matters. Of course, as someone who has seen (and sat on) her fair share of designer furniture, we were especially keen to hear what her chair of choice was.

With the aim of Chat in a Chair being to celebrate the importance of collecting objects and shed light on why it’s such an individual pursuit, Nicky is a perfect interviewee. She reminds us that in each object is a wealth of opportunity that reaches far beyond the object itself – if you’re willing to discover it.

In/Out - CHAT IN A CHAIR: NICKY LOBO

In/Out - CHAT IN A CHAIR: NICKY LOBO

In/Out - CHAT IN A CHAIR: NICKY LOBO

In/Out - CHAT IN A CHAIR: NICKY LOBO

In/Out - CHAT IN A CHAIR: NICKY LOBO

In/Out - CHAT IN A CHAIR: NICKY LOBO

In/Out - CHAT IN A CHAIR: NICKY LOBO

In/Out - CHAT IN A CHAIR: NICKY LOBO

In/Out - CHAT IN A CHAIR: NICKY LOBO
Despite holding the much sought after title of Editor to one of our (your/everyone in Australia’s) favourite design magazines, Nicky ‘stumbled into the design world’. Working as a studio assistant in the interiors department at Group GSA, she decided to apply (and was accepted) for the Advanced Diploma of Interior Design through TAFE at the Design Centre Enmore. What she realised (and which makes sense if you know Nicky and her inquisitive mind), is that it was the ‘talking and thinking about design’ that she liked most. In true Nicky style, she followed her gut and went on to study Communications at UTS with a major in Writing & Cultural studies.

“It was then that I had a brainwave and thought I could combine my interests and write about design,” she says, “so I approached Indesign for some work experience.” Working with then-Editor Dr Paul McGillick and then-Deputy Editor Andrea Millar on Habitus from its inception means Nicky has seen and been part of a major project through its development.

The richness we see in the pages of Habitus today can be traced back to a strong idea at the beginning and a passionate team working on it, but also to Nicky and her integrity. Nicky isn’t about quick fixes or ‘instant gratification’ when it comes to discussing design, but about creating conversation that is accessible in ‘an intelligent and meaningful way’. Behind all those pages of beautiful words and images, which flow effortlessly from start to finish, is hours of planning and careful consideration.

When it comes to her chair of choice, Nicky’s answer is equally meaningful. Though as much as her eye for quality design and interest in the subject influenced her choice, it is clearly her love of yoga (and the floor) that made The Togo, from Ligne Roset, winner. This chair, she tells us, embodies the idea of ‘play’. “I believe we are at our most creative and productive when we are relaxed, comfortable and having fun,” she says. “The Togo encourages all of this. You can curl up on it and read, squash up next to your best friend on it, lay on the ground with your legs up on the seat, sit cross legged…”

Such an adaptable piece, it’s no wonder Nicky chose it. Togo is for its sitter, letting them decide the position that best nurtures them and their creative self. After talking to Nicky then, perhaps we can say it is the quality of connectedness we sensed. Whatever Nicky decides to involve herself in – whether it’s talking design or choosing a piece of furniture – she does with thoughtfulness and awareness. It was a treat chatting to her.

Your three great passions?
Creativity, yoga, education, food.
I couldn’t leave one out, sorry.

Your favourite works of fiction and non fiction and why?
Fiction: The God of Small Things, Arundhati Roy. The writer is an absolute sorceress and transports me fully into the story, which is both beautiful and terrible.
A Tangled Web, L.M Montgomery. An old-fashioned book about a family clan, full of humour and wit.
Anything by Roald Dahl and Enid Blyton, to whom I credit my early love of books and reading.

Non-fiction: Age of Kali, William Dalrymple. Most of the books I’ve tried on the history of India and Pakistan have been quite dry but Dalrymple has a gift for narrative. It has a filmic approach in this sense – like a collection of short period stories rather than a documentary. I’m also reading the Dalai Lama’s autobiography (now 15 years old), Freedom in Exile.

Where do you turn for creative inspiration?
Conversation. Asking questions, exploring, interrogating, nudging thoughts along usually takes you to new places. Also internal conversation. Daydreaming, yoga and time alone is a constant source of ideas and realisations.

Describe or dream up the perfect corner of your home
A corner with natural light. A comfortable lounge to sit on, or a fluffy rug to sprawl on. A fireplace. A lamp for when daylight begins to dim. A side table for my cup of tea. A blanket and a book. This is the winter corner. For summer, head to the garden, replace the lounge with a towel or picnic blanket and the tea for a glass of rosé with ice. Greenery is a must in both.

Tell us about the path to becoming the editor of Habitus
I stumbled into the design world working as a studio assistant for the interiors department at Group GSA. While there I applied and was accepted into the Advanced Diploma of Interior Design through TAFE at the Design Centre Enmore, where I studied with the lovely (and hugely talented even then) Juliette Arent. I did a 1-year stint at PTW in the interiors department too. Working full-time and studying part-time made me realise I liked talking and thinking about design more than doing it, so I left my job and the course and went back to uni to study Communications at UTS with a major in Writing & Cultural Studies. It was then that I had a brainwave and thought I could combine my interests and write about design, so I approached Indesign for some work experience. That was back in 2007. I’ve been here ever since! When I went full-time after I finished my degree, I was so excited to work closely with then-Editor Paul McGillick and then-Deputy Editor Andrea Millar on a new magazine we were launching called Habitus. It’s been an amazing experience to grow with the magazine and see it develop into the multi-platform brand it is today. I still get a lot of joy from it. And am constantly inspired, stimulated and challenged too.

Three creatives who inspire you and the reasons why?
Gene Sherman of Sherman Contemporary Art Foundation – intimidatingly intelligent, yet warm and down-to-earth.

Fashion designer Alistair Trung – highly principled with a unique lens of the world. He makes the practical seem avant-garde.

Yoga pioneers Ana Forrest and Seane Corn – using yoga as a creative tool to heal and inspire change.

And television personality Lee Lin Chin for being fashion brave and hilarious.

There are many more, it’s hard to choose!

Tell us what have you learnt about the design community in Australia?
The community is strong, but the awareness of design needs to grow beyond the professional community in order to be sustainable. I would love for design, architecture and art to be as talked about in Australia as it is in Europe, as widely discussed as sport or politics. For it to be valued in an economic and cultural context. So it needs to be accessible, but in an intelligent and meaningful way – not in a fast-food, instant gratification way. As the conversation about design becomes louder, there will be more opportunity for the community to be collaborative and supportive and continue to grow.

Tell us about the chair of your choice, the Togo from Ligne Roset, I’ve heard you like sitting on the floor…. What makes it special for you? What does the chair represent for you?
I discovered this chair when scouting product for a Habitus photo shoot to represent ‘Play’ and that’s what the Togo means to me. I believe we are at our most creative and productive when we are relaxed, comfortable and having fun – the Togo encourages all of this. You can curl up on it and read, squash up next to your best friend on it, lay on the ground with your legs up on the seat, sit cross legged. It’s so flexible and casual. The construction is amazing too – 5 different densities of foam in a single seat. Quilted cover (all hand-finished) that begs you to touch and sit. Incredibly light to move around. And designed in the 1970s – possibly the coolest decade there ever was.

In/Out - CHAT IN A CHAIR: NICKY LOBO

Credits: Photography by Luisa Brimble

CHAT IN A CHAIR: NICKY LOBO

In/Out: G-Rough Hotel

In/Out: G-Rough Hotel

In/Out: G-Rough Hotel

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In/Out: G-Rough Hotel

In/Out: G-Rough Hotel

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In/Out: G-Rough Hotel

In/Out: G-Rough Hotel

In/Out: G-Rough Hotel

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In/Out: G-Rough Hotel

In/Out: G-Rough Hotel

In/Out: G-Rough Hotel

In/Out: G-Rough Hotel

In/Out: G-Rough Hotel

In/Out: G-Rough Hotel

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Like its sister hotel, Palazzina G in Venice, G-Rough celebrates history and place. Set in a tall and narrow, five-story, 17th century building – in Piazza Navona not far from Sant’Agnese church, this design hotel is a satisfying look into the real Rome.

In collaboration with architect Giorgia Cerulli, Emanuele Garosci and Gabriele Salini have created a ten-suite hotel that preserves 400 years of architectural history and at the same time presents to its visitors a contemporary Rome.

Cerulli has incorporated as much of the building’s original features as possible. Old paint and raw materials are left exposed on walls – literally revealing the layers of history embedded in the property, and wooden roofs and elaborate parquet floors reflect the Rome that once was. Perhaps the most endearing feature of the building’s age is the original Latin inscription on the facade: “SATIS AMPLA QVAE SECVRITATE RIDEAT” (meaning “big enough to give a feeling of security”).

While a definite reminder of where it has come from, G-Rough also speaks to the present. The bare walls and high oak beam ceilings of the past contrast with iconic furniture and contemporary art, reflecting the city’s continual flux and cultural development. Each of the five floors pay homage to a different Italian designer from the 1930s to the 1970s, including Ico Parisi, Giò Ponti, Guglielmo Ulrich and Aristide Seguso, and a changing display of art works from emerging Italian artists fill the walls.

In aesthetic terms, the hotel is described as ‘rough-luxury’ – a new kind of Italian luxury characterised by distressed plaster walls and mid-century Italian design. But the design far transcends being superficial; its sentiment is genuine and firmly rooted in place. “We’re presenting a very Italian sense of luxury,” says entrepreneur Gabriele Salini, “one with history, design, art, and a touch of whimsy.”

To combine original features, classic Italian design and contemporary art might sound ambitious, even confused. But here the designers have struck a meticulously crafted balance between celebrating a rich history and acknowledging an exciting present. G-Rough is eclectic but consistent in its design, playful yet grounded. And it rejoices in all that is the city of Rome; its past tied to its present, and its continual evolution of a strong culture of art and design.

Credits: G-Rough

G-Rough Hotel

In/Out: Rachel Comey Flagship

In/Out: Rachel Comey Flagship

In/Out: Rachel Comey Flagship

In/Out: Rachel Comey Flagship

In/Out: Rachel Comey Flagship

In/Out: Rachel Comey Flagship

In/Out: Rachel Comey Flagship

In/Out: Rachel Comey Flagship

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In/Out: Rachel Comey Flagship

In/Out: Rachel Comey Flagship

In/Out: Rachel Comey Flagship

In/Out: Rachel Comey Flagship
Located in Soho NYC Rachel Comey’s flagship store is a perfect mix of robust and delicate, elegantly industrial and frivolously uplifting. Theatrical, in a historical context, it is full of 1950’s colour, 1980’s glamour and contemporary chic. A celebration of diverse creative minds headed by architect Elizabeth Roberts of Ensemble Architecture DPC, interior designer Charles de Lisle and Rachel Comey, this beauty was born. Comey started kicked off the creative process with ideas on materiality and worked backwards – this is what can happen when you trust your instincts.

Heralded by Leanne Shapton’s custom flag this converted mechanics garage with it’s raw hewn timber ceiling enters a new era. A heady mix of masculine and feminine, concrete floors peppered with hand placed aggravate are grounded by thick handsome stucco’d walls. A generous concrete shoe plinth is lovingly manufactured with stones from Comey’s favourite beach, and pumice from the stone wash facility. Custom Rodrigues-styled armchairs in lipstick plum are backdroped by timber imprinted concrete walls. Comey’s collections hover ethereally off the ground haloed by brushed brass hanging rails. And then there is the dressing rooms…..swoon! Pink herringbone carpet, playful apertures and discreet lighting make for a cinematic boudoir.

Not that Comey needs much help selling her brilliantly, good-looking, cohesive, tailored designs, but really who wouldn’t want to walk away with a souvenir of this beautiful experience?

Photography by Dustin Aksland

ENSEMBLE ARCHITECTURE, DPC ‘Rachel Comey Flagship’

In/Out: MULLER VAN SEVEREN BOOK BY FREDERIK VERCRUYSS

In/Out: MULLER VAN SEVEREN BOOK BY FREDERIK VERCRUYSS

In/Out: MULLER VAN SEVEREN BOOK BY FREDERIK VERCRUYSS

In/Out: MULLER VAN SEVEREN BOOK BY FREDERIK VERCRUYSS

In/Out: MULLER VAN SEVEREN BOOK BY FREDERIK VERCRUYSS

In/Out: MULLER VAN SEVEREN BOOK BY FREDERIK VERCRUYSS

In/Out: MULLER VAN SEVEREN BOOK BY FREDERIK VERCRUYSS

In/Out: MULLER VAN SEVEREN BOOK BY FREDERIK VERCRUYSS

In/Out: MULLER VAN SEVEREN BOOK BY FREDERIK VERCRUYSS

In/Out: MULLER VAN SEVEREN BOOK BY FREDERIK VERCRUYSS

In/Out: MULLER VAN SEVEREN BOOK BY FREDERIK VERCRUYSS

In/Out: MULLER VAN SEVEREN BOOK BY FREDERIK VERCRUYSS

In/Out: MULLER VAN SEVEREN BOOK BY FREDERIK VERCRUYSS

In/Out: MULLER VAN SEVEREN BOOK BY FREDERIK VERCRUYSS

Belgian artists Fien Muller and Hannes Van Severen’s of ‘Muller Van Severen’, live and work from their Belgium home, their collection drawing on the simplicity of a basic notion of furniture.

Elegantly refined, their chairs and tables are interconnected continuously, intertwined in conversation. Delicate pieces responsive in functionality are a reflection of the two artists’ focus. On the one hand Muller, a photographic artist whose contemporary still-lifes connect opposing common objects into a serene moment, and on the other, Van Severen, a sculptor whose large-scale sculptures are disjointed and quizzical.

Muller Van Severen is the meeting of the two minds; their furniture, sole objects that have an almost Bauhausian sense of rigour and order. 

Fine lines, pared back; these are modernist objects, articulated in a minimalist art form. Not shy of colour, big bursts of primary red and yellow work beautifully with aqua green and sunrise peach. Timber, metal, marble – sounds humble enough – with the touch of Muller and Van Severen these pieces are both a delicate study of frame and a meditation on materiality.

Photographed by fellow Belgian Frederik Vercruysse, with his usual minimalist touch, gives space to celebrate the unique charms of Muller & Van Severen’s work.

Credits: Courtesy of Muller Van Severen & Frederik Vercruysse

MULLER VAN SEVEREN

In/Out: YIELD

In/Out: YIELD

In/Out: YIELD

In/Out: YIELD

In/Out: YIELD

In/Out: YIELD

In/Out: YIELD

In/Out: YIELD

In/Out: YIELD

In/Out: YIELD

In/Out: YIELD

In/Out: YIELD

In/Out: YIELD

In/Out: YIELD

In/Out: YIELD

In/Out: YIELD

In/Out: YIELD

A pure philosophy of quality objects, ethically produced, both functional and decorative are core to design duo, Rachel Gant and Andrew Deming, of Yield. The self proclaimed “New American Standards”, it’s fitting that Yield is based in Saint Augustine, Florida, the oldest European settlement in the USA.

Yield is a collection of feel good objects, honest in their materiality – dull brass, copper ready for patina by many hands, calico bags with vegetable dyed tanned leather, and matte-finish ceramics – and in their production. Objects not manufactured in the USA, (such as ‘French Press’ from Hanoi in Vietnam) are diligently sourced from a Fair Trade makers around the globe.

As expressed by Yield, “Beauty, sustainability and ethical production are not at odds – they must all be considered to create something of true worth. Anything created at someone else’s expense is not beautiful and the manufacturing of disposable goods for short term benefit has robbed our natural resources for too long. We bear a responsibility to create timeless pieces that last. Buy for keeps or please do not buy at all.”

Even though Gant and Deming celebrate the classic forms they embrace the future through the collection. Gold cast rings, with names like ‘Century’, ‘Infinity’ and ‘Primary’ are three-dimensionally printed. Yield is a collision of worlds both past and present, that come together with such gracious serenity.

Credits: Yield

YIELD

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