With its distinctive design and balanced proportions of the Citterio 98 cutlery collection have earned it the status of a modern design classic. In designing the range, Antonio Citterio and Oliver Löw took the traditional cutlery of French cafés as their source of inspiration and updated it to meet the demands of contemporary functionalism. The matt brushed stainless steel design feels equally at home in both a formal dinner setting and at a relaxed get-together with friends. Available as a 16 piece and 24 piece set, or sold by the piece.
“From the cook’s knife to the teaspoon, every item in Iittala’s Citterio 98 range of flatware displays the same perfectly balanced proportions.”
- Phaidon Design Classics
Iittala Citterio 98 Flatware, by Antonio Citterio and Oliver Löw
“To trust and to be trusted, to support and to be supported, creating a seemingly fragile but yet viable state of equilibrium.”
The coat hanger Game of Trust consists of three identical Y-shaped elements. Each one supports and at the same time is supported by one of the others, resulting in an embrace that transforms the units into a unity. The Game of Trust demands accuracy of construction, excellent quality of materials and the right people that can deal with both. The idea is to be made of solid wood, to be modular, easy to assemble and disassemble, easy to pack, to fit in a small package and easy to carry.
Game of Trust, by Yiannis Ghikas
Under the direction of Ed Barber and Jay Osgerby, students of ECAL (University of Art and Design Lausanne) created a series of crystal pieces for Baccarat. Guillaume Noiseux added functional tops and lids to seal in freshness.
The Brooklyn based designer David Weeks has unleashed Hanno, a gorilla with elastic band muscles that pop and lock into a myriad of poses. He is named after Hanno the Navigator, a Greek voyager who explored Africa 2,500 years ago and discovered gorillas. Made of sustainably harvested beech, Hanno is one with the environment. Hanno’s powerful hardwood frame can hold many poses. His elastic-band muscles and durable wood limbs make him almost impervious to breakage.
Robotrilla, Gorilla and Skullrilla make up a collection of ashtrays designed by David Weeks. Smokers can watch smoke come out of Skullrilla’s eyes and nostrils; if you quit, it works as an incense burner or a nut tray for guests, either way, it’s bound to spark conversation.
Porcelain Vase is a formally convincing and almost technical-seeming cone. Divided by three legs, its conical body provides an ideal base and remains stable even when used with long-stemmed plants. Its legs are not add-ons, but rather integral parts of the vase itself. The constructive interplay between the basic body’s consistency and the vase’s overall formal freedom gives rise to a highly distinct aura.
Porcelain Vase, by Thomas Feichtner Produced by Wiener Porzellanmanufaktur Augarten, Austria
As the Iittala glassworks celebrates its 130th Anniversary, the Claritas collection by Professor Timo Sarpaneva (1926–2006) is being blown back into life – with all the unattainable colours, which Sarpaneva could only dream of in the 1980s, now glowing in statuesque forms. The Claritas collection was born at the Iittala glassworks in 1983. This happened in a workshop where new methods of mouth-blowing were being developed and new glass blowers trained. Timo Sarpaneva led the work, together with master blower Reino Löflund.
Initially, the glassblowers made pieces of glass jewellery with a small air bubble inside. When Sarpaneva saw these pieces, he posed the blowers the challenge of creating the biggest bubble possible inside the glass. This is said to be the Claritas collection’s moment of birth. In a burst of creativity, Sarpaneva created the Claritas method of embedding air bubbles, which reflect light like concave lenses, in glass.
The original collection included 63 different works of art, all approved by Sarpaneva. Three different versions of these pieces have been available in Iittala’s present-day selection. To celebrate its 130th Anniversary, Iittala will introduce Claritas art pieces never seen before, these will include seven delicate pieces of glass art and one special, numbered version.
Iittala Claritas Collection, by Timo Sarpaneva
French designers Ronan & Erwan Bouroullec presents a wooden bird called L’Oiseau, at this years Salone del Mobile in Milan. The bird will be a companion to the Eames House Bird which the Eames’s discovered on their travels and whose original designer remains unknown.
“It is a simple bird without any other function than trying to propose a caring presence, a pleasant company. We have always been fascinated by animal representations whether they are primitive or more contemporary — from ivory bears made by the Inuit community to the Finnish birds made in blown glass. It could seem outdated to be interested in such subjects however we truly think that it is a necessary fantasy to continue supplementing this symbolic bestiary.”
L’Oiseau by Ronan & Erwan Bouroullec, for Vitra
The Sé / Jaime Hayon collaboration is the result of an idea from founder Pavlo Schtakleff to create ‘haute couture’ furniture by carefully sourcing only leading experts to create unique styles and finishes. This enabled Hayon to create a full range of pieces that would, in Schtakleff’s mind, undoubtedly result in this perfect coupling of design originality with Sé’s now firmly established basis of superior craftsmanship and technological expertise.
The materials chosen for the collection are a selection of the finest woods, metals, marbles and fabrics – the edit of these, resulting in a richness clearly demonstrated within each piece. Shapes within the collection are dynamic and light. They are objects of comfortable luxury, each with a strong identity yet classic in their ability to work within a variety of environments.
Sé Collection II, Time Piece, by Jaime Hayon, for Sé
Fascinated by the history of Viennese Silver, Thomas Feichtner created a fruit bowl for the renowned Wiener Silber Manufactur. This bowl is not a rounded body, instead, it is a sophisticated interplay of internal and external surfaces. At first glance, it appears as if the fruit might fall out through the openings in the legs, but actually, it becomes wedged and therefore stabilized. This, at one and the same time, is both an intended irritation and its most significant functional element. This way, the interface area between bowl and fruit is kept to a minimum, thus reducing the size of pressure area and potential damage to the fruit. Simply bending the silver sheet produced a self-supporting structure, supported by three legs. Thus, in marked contrast to the organic shapes of the fruit, an almost ‘technical’ effect is achieved, formally pointing to the style of Feichtner’s previous works.
Fruit Bowl, Silver 940/000, by Thomas Feichtner Produced by Wiener Silber Manufactur