50 Friends

50 Friends 50 Designers, 50 Encounters, 10 Years of Design Friends

50 Friends 50 Designers, 50 Encounters, 10 Years of Design Friends

Interviews Since 2009, Design Friends has organised 50 design talks in Luxembourg, most of them at Mudam. For our 10th anniversary-book, we’ve caught up with the fifty designers and present their recent works in the following pages. From Dennis Lück (conference #50, June 2019) to Christoph Niemann (#01, April 2009).

50 49 48 46 45 44 43 42 41 40 39 38 Niklaus Troxler

37 36 35 34 33 32 We received this original artwork from Niklaus Troxler for our 10th anniversary. Thank you, Niklaus! It’s magic!

31

30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13

Pleix Video · Installation, 2016 Alexandra Murray-Leslie High Technology Fashion Design, 2015 Philippe Apeloig Graphic Design, 2015 Eduardo Aires Corporate Design, 2015 Klaus-Peter Siemssen Light Design · Digital Design, 2014 Erik Spiekermann Graphic Design, 2014 Bruce Duckworth Packaging Design, 2014 Paul Priestman Transportation Design, 2014 Mirko Borsche Editorial Design, 2014 Christophe Pillet Product Design, 2013 Sissel Tolaas Smell Research, 2013 Nicolas Bourquin Editorial Design, 2013 Murat Günak Automotive Design, 2013 Lernert & Sander Art & Design, 2013 Sonja Stummerer & Martin Hablesreiter Food Design, 2012 Sam Hecht Industrial Design, 2012 Mario Lombardo Editorial Design, 2012 Pearls Sound Design, 2012

12 11 10 09 08 07 06 05 04 03 02 01

Stefan Diez Industrial Design, 2012 Elvis Pompilio Fashion Design, 2011 Michael Johnson Graphic Design, 2011 Joachim Sauter Media Design, 2011 Niklaus Troxler Graphic Design, 2011 5.5 Designers Product Design, 2011 Kustaa Saksi Illustration, 2010 Harri Peccinotti Photography, 2010 Andreas Uebele Signage Design, 2010 Fun Factory Product Design, 2009 Michel Mallard Creative Direction, 2009 Christoph Niemann Illustration, 2009

Table Of Content

47

Dennis Lück Designing Creativity, 2019 Frank Rausch Interface Design, 2019 Studio Feixen Visual Concepts, 2019 Sarah-Grace Mankarious Graphic Design, 2018 Patricia Urquiola Product Design, 2018 Isabelle Chapuis Photography, 2018 Brousse & Ruddigkeit Code Design, 2018 Uwe R. Brückner Scenography, 2018 Phoenix Design Product Design, 2018 Laura Straßer Product Design, 2017 Armando Milani Graphic Design, 2017 Brosmind Graphic Design, 2017 Tim John & Martin Schmitz Scenography, 2017 Pe’l Schlechter Graphic Design, 2017 Jean-Paul Lespagnard Fashion Design, 2017 Kiki Van Eijk Product Design, 2016 Mr Bingo Illustration, 2016 Romain Urhausen Product Design, 2016 Ruedi Baur Graphic Design, 2016 La Fille d’O Fashion Design, 2016

Interviews Since 2009, Design Friends has organised 50 design talks in Luxembourg, most of them at Mudam. For our 10th anniversary-book, we’ve caught up with the fifty designers and present their recent works in the following pages. From Dennis Lück (conference #50, June 2019) to Christoph Niemann (#01, April 2009).

50 49 48 46 45 44 43 42 41 40 39 38 Niklaus Troxler

37 36 35 34 33 32 We received this original artwork from Niklaus Troxler for our 10th anniversary. Thank you, Niklaus! It’s magic!

31

30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13

Pleix Video · Installation, 2016 Alexandra Murray-Leslie High Technology Fashion Design, 2015 Philippe Apeloig Graphic Design, 2015 Eduardo Aires Corporate Design, 2015 Klaus-Peter Siemssen Light Design · Digital Design, 2014 Erik Spiekermann Graphic Design, 2014 Bruce Duckworth Packaging Design, 2014 Paul Priestman Transportation Design, 2014 Mirko Borsche Editorial Design, 2014 Christophe Pillet Product Design, 2013 Sissel Tolaas Smell Research, 2013 Nicolas Bourquin Editorial Design, 2013 Murat Günak Automotive Design, 2013 Lernert & Sander Art & Design, 2013 Sonja Stummerer & Martin Hablesreiter Food Design, 2012 Sam Hecht Industrial Design, 2012 Mario Lombardo Editorial Design, 2012 Pearls Sound Design, 2012

12 11 10 09 08 07 06 05 04 03 02 01

Stefan Diez Industrial Design, 2012 Elvis Pompilio Fashion Design, 2011 Michael Johnson Graphic Design, 2011 Joachim Sauter Media Design, 2011 Niklaus Troxler Graphic Design, 2011 5.5 Designers Product Design, 2011 Kustaa Saksi Illustration, 2010 Harri Peccinotti Photography, 2010 Andreas Uebele Signage Design, 2010 Fun Factory Product Design, 2009 Michel Mallard Creative Direction, 2009 Christoph Niemann Illustration, 2009

Table Of Content

47

Dennis Lück Designing Creativity, 2019 Frank Rausch Interface Design, 2019 Studio Feixen Visual Concepts, 2019 Sarah-Grace Mankarious Graphic Design, 2018 Patricia Urquiola Product Design, 2018 Isabelle Chapuis Photography, 2018 Brousse & Ruddigkeit Code Design, 2018 Uwe R. Brückner Scenography, 2018 Phoenix Design Product Design, 2018 Laura Straßer Product Design, 2017 Armando Milani Graphic Design, 2017 Brosmind Graphic Design, 2017 Tim John & Martin Schmitz Scenography, 2017 Pe’l Schlechter Graphic Design, 2017 Jean-Paul Lespagnard Fashion Design, 2017 Kiki Van Eijk Product Design, 2016 Mr Bingo Illustration, 2016 Romain Urhausen Product Design, 2016 Ruedi Baur Graphic Design, 2016 La Fille d’O Fashion Design, 2016

50 Dennis Lück

Dennis Lück

“Don’t do work that works.

Do work that inspires.

If creatives work by that principle then great stuff will appear.”

Page from 20min (Samsung-Design Edition), 2017

The 20min is Switzerland’s biggest and most read newspaper.

For the well designed Samsung Galaxy S8, the entire newspaper was redesigned just for one day. New typo, new icons, all of it. For one day (the Samsung day), the daily newspaper looked like a piece of design.

Dennis Lück

Designing Creativity Zurich

50 Dennis Lück

Dennis Lück

“Don’t do work that works.

Do work that inspires.

If creatives work by that principle then great stuff will appear.”

Page from 20min (Samsung-Design Edition), 2017

The 20min is Switzerland’s biggest and most read newspaper.

For the well designed Samsung Galaxy S8, the entire newspaper was redesigned just for one day. New typo, new icons, all of it. For one day (the Samsung day), the daily newspaper looked like a piece of design.

Dennis Lück

Designing Creativity Zurich

50 How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

Getting inspired is great. Inspiring others is way bigger. It gives you more than money ever can.

The legacy I want to leave is that people chase the same goal: don’t do work that works, do work that inspires. If creatives work by that principle then great stuff will appear and we don’t have to worry about not leaving something to the world.

The Monument

the floor. In words. In music.

In a café. In a bar. On your smartphone. In your book.

Everywhere. The most important part of your question is “Do you look for magic?”. If you look for it, you’ll find it. If you don’t look for it, you’ll be never be magic yourself.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

I insist on passion. Talent is one thing. But passion and spirit are equally important these days.

Especially, with the super lazy Yolo-Generation-Z-freaks that need a sabbatical after three days of working. So my advice is: use your talent. Show your passion.

And work hard. Work your butt off.

Bite, bite, bite. Become better.

Be mad about becoming better.

Lazy people are rarely successful.

Use your talent, but use your passion to fire it up.

What are the big trends you have observed in your particular field?

The big trend is to work across channels, to combine them, to let the channels interact. It is not a super new trend in our digital era, but still one in progress.

Another trend is that we go back to

focussing on the quality of the work.

With all the new media coming up, there was a trend to do everything fast and cheap, that trend is dead.

I feel a strong comeback of the appreciation for our work.

Hope that trend lasts.

On the importance or relevance of storytelling: I have a very simple formula for my work. I think advertising is stupid. What people like is entertainment. So let’s entertain people with our brands. Brand + entertainment = Brandertainment.

That’s it. All the magic.

If we tell great stories and then sneak in a logo, that’s the way communication should work.

Good design is the intersection of a purpose (design should always have a purpose) and a rainbow with lots of drunk unicorns chasing a rabbit on it (so purpose plus craziness).

How would you define timeless design?

Let’s talk about trends again.

Timeless design is when design did not follow a trend.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Conversely if you feel like there

Time Travel

Dennis Lück

Dennis Lück

Where do you look for magic these days?

I used to grow some mushrooms in my garden that bring magic in a… no, just kidding. Magic is everywhere. Magic is always just around the corner. Magic is on

50

should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

Design always does and will matter.

There is no great idea without great design. Greatness can only be achieved through design.

The only thing that is sometimes missing — in our industry — is to know about the value of design and what it can do to brands.

It can elevate brands to a new level.

Where would Apple be without its design? People need to understand the power of visual aesthetics.

Design wins hearts.

Your work pays your bills, but how do you stay excited about your chosen path?

I make the bills higher.

Il Gioiello Rosso

Failure is great.

Hiking Trail Markings for Graubünden Tourism

Floating Above Water

The hiking trail markings in Graubünden were designed to tell stories about the attractions of the nature nearby.

I am really good at failing. I fail ten times a day. I teach people how to fail correctly and how to not fear failing. Failing is the pre-stage to success. Ask Edison, if you don’t believe me.

Campaign for Carlsberg

50 How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

Getting inspired is great. Inspiring others is way bigger. It gives you more than money ever can.

The legacy I want to leave is that people chase the same goal: don’t do work that works, do work that inspires. If creatives work by that principle then great stuff will appear and we don’t have to worry about not leaving something to the world.

The Monument

the floor. In words. In music.

In a café. In a bar. On your smartphone. In your book.

Everywhere. The most important part of your question is “Do you look for magic?”. If you look for it, you’ll find it. If you don’t look for it, you’ll be never be magic yourself.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

I insist on passion. Talent is one thing. But passion and spirit are equally important these days.

Especially, with the super lazy Yolo-Generation-Z-freaks that need a sabbatical after three days of working. So my advice is: use your talent. Show your passion.

And work hard. Work your butt off.

Bite, bite, bite. Become better.

Be mad about becoming better.

Lazy people are rarely successful.

Use your talent, but use your passion to fire it up.

What are the big trends you have observed in your particular field?

The big trend is to work across channels, to combine them, to let the channels interact. It is not a super new trend in our digital era, but still one in progress.

Another trend is that we go back to

focussing on the quality of the work.

With all the new media coming up, there was a trend to do everything fast and cheap, that trend is dead.

I feel a strong comeback of the appreciation for our work.

Hope that trend lasts.

On the importance or relevance of storytelling: I have a very simple formula for my work. I think advertising is stupid. What people like is entertainment. So let’s entertain people with our brands. Brand + entertainment = Brandertainment.

That’s it. All the magic.

If we tell great stories and then sneak in a logo, that’s the way communication should work.

Good design is the intersection of a purpose (design should always have a purpose) and a rainbow with lots of drunk unicorns chasing a rabbit on it (so purpose plus craziness).

How would you define timeless design?

Let’s talk about trends again.

Timeless design is when design did not follow a trend.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Conversely if you feel like there

Time Travel

Dennis Lück

Dennis Lück

Where do you look for magic these days?

I used to grow some mushrooms in my garden that bring magic in a… no, just kidding. Magic is everywhere. Magic is always just around the corner. Magic is on

50

should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

Design always does and will matter.

There is no great idea without great design. Greatness can only be achieved through design.

The only thing that is sometimes missing — in our industry — is to know about the value of design and what it can do to brands.

It can elevate brands to a new level.

Where would Apple be without its design? People need to understand the power of visual aesthetics.

Design wins hearts.

Your work pays your bills, but how do you stay excited about your chosen path?

I make the bills higher.

Il Gioiello Rosso

Failure is great.

Hiking Trail Markings for Graubünden Tourism

Floating Above Water

The hiking trail markings in Graubünden were designed to tell stories about the attractions of the nature nearby.

I am really good at failing. I fail ten times a day. I teach people how to fail correctly and how to not fear failing. Failing is the pre-stage to success. Ask Edison, if you don’t believe me.

Campaign for Carlsberg

Frank Rausch

Interface Design Berlin

49

Frank Rausch

“Authors don’t pretend that there is only one correct solution to a design problem. There are hundreds.

Authors celebrate the one they choose.

This is honest design.”

Typefacts, 2018

Frank Rausch

Interface Design Berlin

49

Frank Rausch

“Authors don’t pretend that there is only one correct solution to a design problem. There are hundreds.

Authors celebrate the one they choose.

This is honest design.”

Typefacts, 2018

49

49

Where do you look for magic these days?

The advancements made in computing and display technologies over the past decades are mind-blowing.

Consider how much high-tech fits in the palm of your hand these days! Look at LED lights, sustainable energy, and electric cars. We quickly adopt innovations and take them for granted.

But to me, they’re magical. I try to apply mindfulness principles — especially the beginner’s mind — to my everyday life. By doing so, even the most ordinary commodity gadgets of today manage to blow my mind, over and over again.

I sometimes imagine showing my current tech gear to my 14-year-old self. Or I imagine time travelling 50 or 100 years into the past and showing someone a current iPhone. Magic, definitely!

Today more than ever, what does honest design mean to you?

Good design should not conceal the fact that there is no such thing as “neutral design.” My favourite kind of honesty in design shows in opinionated digital products.

I’d rather use an app designed

by an author than an app designed by a committee. It’s easy to tell the difference: committees are careful, authors are daring.

Authors don’t pretend that there is only one correct solution to a design problem. There are hundreds.

Authors celebrate the one they choose. This is honest design.

appropriate depends on the specific requirements. Designing a fun app needs a different approach than designing the cockpit of an airplane.

Here’s my rule of thumb for userinterfaces: follow platform standards and conventions for the big-picture design, then add delight and surprises in the tiny details — if appropriate. This way your user interface will be perfectly usable but still carry personality.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is? Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

Absolutely! When I started studying user interface design in 2003, I had to explain what it was and justify why it even mattered.

Nowadays everyone inside and outside of the design industry understands that well-designed user interfaces can make or break any digital product.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

Inspiring people is what design education — or any type of teaching — is all about. I can’t teach someone to be a great designer or to be a decent programmer.

These skills require self-teaching and persistent motivation.

But I can spark an interest and inspire people to become passionate about producing good work.

On the importance or relevance of storytelling: Stories are at the core of everything we design. In the end, everything we produce will blend with people’s personal stories.User interface design is full of metaphors and real-world references. Laptops still tell us stories about “files” in “folders” on our “desktop” — all artificial images, created a long time ago to tell office workers how the computer works. User interfaces visualise the incomprehensible.

Their interactions can be scripted and choreographed like screenplays.

We should therefore embrace storytelling through language, sequences, animation, and behaviours.

FHP Incom, 2017

Good design is the intersection of educated thinking and opinionated craftsmanship.

How would you define timeless design?

True timelessness in design is almost impossible to achieve.

On the other hand, kitsch and zeitgeisty clichés are largely

avoidable, even in user interface design. Not getting caught up in fashion is important to me, so I avoid doing what everyone else is currently overdoing. In my field — in the design of digital user interfaces — the styles that are in vogue change extremely fast.

Examples that come to my mind are wet-floor effects in 2006, gradients in 2009, textures in 2012, and flat design in 2015. There is nothing wrong with a product only because you can tell immediately when it was designed. But I try to quote the contemporary style carefully and not to follow it mindlessly.

This will make it more likely that my designs can stand the test of time — or at least look fresh for a bit longer.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

In user interface design, there is little room to challenge fundamental expectations. Many interactions rely on conventions. The design goal is usually to reduce friction as much as possible, which means going down the most familiar path by applying known patterns.

Whether challenging perceptions is

Your work pays your bills, but how do you stay excited about your chosen path?

I would not trade my profession as a typographer/designer/developer for anything in the world. It took me a while to find the ideal working mode though. I’ve tried running an agency with clients and all that, but recently I’ve focused on my personal projects: making apps.

I love being in control by designing and coding everything myself.

Also, teaching has become very important to me. I regularly challenge myself with public speaking. Exchanging ideas and discussing work publicly and outside of the business context is valuable. And there is always new stuff to learn: tools change, technologies change, workflows change, paradigms change, expectations change. The field itself stays exciting, that alone keeps me excited.

Frank Rausch

Frank Rausch

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

When I started getting into design, I focused on learning the software tools. Tools are important, but they don’t make a decent designer.

The key to that part is having well-trained eyes. Being able to see, analyse and describe visual designs is what you need.

You must train your eyes by looking at a lot of stuff and by producing a lot of stuff. There is no shortcut.

Learning to judge aesthetics is like learning to read and write. If you wish to become a great writer, you absolutely have to read a lot and write a lot. It’s a process that requires time and interest to the point of becoming an obsession. Which is fine by me.

49

49

Where do you look for magic these days?

The advancements made in computing and display technologies over the past decades are mind-blowing.

Consider how much high-tech fits in the palm of your hand these days! Look at LED lights, sustainable energy, and electric cars. We quickly adopt innovations and take them for granted.

But to me, they’re magical. I try to apply mindfulness principles — especially the beginner’s mind — to my everyday life. By doing so, even the most ordinary commodity gadgets of today manage to blow my mind, over and over again.

I sometimes imagine showing my current tech gear to my 14-year-old self. Or I imagine time travelling 50 or 100 years into the past and showing someone a current iPhone. Magic, definitely!

Today more than ever, what does honest design mean to you?

Good design should not conceal the fact that there is no such thing as “neutral design.” My favourite kind of honesty in design shows in opinionated digital products.

I’d rather use an app designed

by an author than an app designed by a committee. It’s easy to tell the difference: committees are careful, authors are daring.

Authors don’t pretend that there is only one correct solution to a design problem. There are hundreds.

Authors celebrate the one they choose. This is honest design.

appropriate depends on the specific requirements. Designing a fun app needs a different approach than designing the cockpit of an airplane.

Here’s my rule of thumb for userinterfaces: follow platform standards and conventions for the big-picture design, then add delight and surprises in the tiny details — if appropriate. This way your user interface will be perfectly usable but still carry personality.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is? Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

Absolutely! When I started studying user interface design in 2003, I had to explain what it was and justify why it even mattered.

Nowadays everyone inside and outside of the design industry understands that well-designed user interfaces can make or break any digital product.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

Inspiring people is what design education — or any type of teaching — is all about. I can’t teach someone to be a great designer or to be a decent programmer.

These skills require self-teaching and persistent motivation.

But I can spark an interest and inspire people to become passionate about producing good work.

On the importance or relevance of storytelling: Stories are at the core of everything we design. In the end, everything we produce will blend with people’s personal stories.User interface design is full of metaphors and real-world references. Laptops still tell us stories about “files” in “folders” on our “desktop” — all artificial images, created a long time ago to tell office workers how the computer works. User interfaces visualise the incomprehensible.

Their interactions can be scripted and choreographed like screenplays.

We should therefore embrace storytelling through language, sequences, animation, and behaviours.

FHP Incom, 2017

Good design is the intersection of educated thinking and opinionated craftsmanship.

How would you define timeless design?

True timelessness in design is almost impossible to achieve.

On the other hand, kitsch and zeitgeisty clichés are largely

avoidable, even in user interface design. Not getting caught up in fashion is important to me, so I avoid doing what everyone else is currently overdoing. In my field — in the design of digital user interfaces — the styles that are in vogue change extremely fast.

Examples that come to my mind are wet-floor effects in 2006, gradients in 2009, textures in 2012, and flat design in 2015. There is nothing wrong with a product only because you can tell immediately when it was designed. But I try to quote the contemporary style carefully and not to follow it mindlessly.

This will make it more likely that my designs can stand the test of time — or at least look fresh for a bit longer.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

In user interface design, there is little room to challenge fundamental expectations. Many interactions rely on conventions. The design goal is usually to reduce friction as much as possible, which means going down the most familiar path by applying known patterns.

Whether challenging perceptions is

Your work pays your bills, but how do you stay excited about your chosen path?

I would not trade my profession as a typographer/designer/developer for anything in the world. It took me a while to find the ideal working mode though. I’ve tried running an agency with clients and all that, but recently I’ve focused on my personal projects: making apps.

I love being in control by designing and coding everything myself.

Also, teaching has become very important to me. I regularly challenge myself with public speaking. Exchanging ideas and discussing work publicly and outside of the business context is valuable. And there is always new stuff to learn: tools change, technologies change, workflows change, paradigms change, expectations change. The field itself stays exciting, that alone keeps me excited.

Frank Rausch

Frank Rausch

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

When I started getting into design, I focused on learning the software tools. Tools are important, but they don’t make a decent designer.

The key to that part is having well-trained eyes. Being able to see, analyse and describe visual designs is what you need.

You must train your eyes by looking at a lot of stuff and by producing a lot of stuff. There is no shortcut.

Learning to judge aesthetics is like learning to read and write. If you wish to become a great writer, you absolutely have to read a lot and write a lot. It’s a process that requires time and interest to the point of becoming an obsession. Which is fine by me.

48

Poster for 3 Sec Gallery (Erich Brechbühl Exhibition), 2017

Felix Pfäffli

Visual Concepts Lucerne

“Being trend based is also a bit unprofessional, as soon as you make trend based decisions, you are no longer content oriented.”

Studio Feixen

Studio Feixen

Studio Feixen

48

Poster for 3 Sec Gallery (Erich Brechbühl Exhibition), 2017

Felix Pfäffli

Visual Concepts Lucerne

“Being trend based is also a bit unprofessional, as soon as you make trend based decisions, you are no longer content oriented.”

Studio Feixen

Studio Feixen

Studio Feixen

48

48

Does that mean that when you first started out, you would just cold call people and offer your ideas?

Absolutely! I was talking to people a lot. If I went to a concert for example, I would think the music was really great but their records looked like shit, so I would just go to them and say maybe we should do something together.

Where do you look for magic?

I think magic happens without planning.

Do you have to ensure that certain conditions are in place to ensure that you have the mental headspace to create?

Like a ritual?

Yes, I do. But actually the most important thing is that our studio

the details, not in the big strokes.

But on the other hand, I also believe that there are thousands of ways to design. I have my own rules, but I have no problem admiring someone’s work, that actually I don’t even like, but I can see that they like what they do. So, you could also say that if somebody creates something and it makes them happy, then it can be considered honest design.

Posters for Nike Air Max Day, 2018

is about wellbeing. We believe that when you are kind of focused and you don’t have a thousand things going on in your life all the time or in your head, like should I visit my grandma again… if you are in a state where you don’t worry and you are comfortable, then that’s the perfect stage you can reach to create. The clearer your mind, the more you are also open to see what is happening around you and really react. Otherwise, you will miss it because you won’t be conscious. We also have this rule that it’s not allowed to really fall in love with something in design. We still want to leave the space to turn left or right if it is needed otherwise it becomes a weakness.

That can be challenging though.

As designers you are trying to find solutions to specific problems, but at the same time I think it’s also an art form so the response you have to a work can be very emotional and subjective. So, how do you keep yourself from falling in love with a concept or an idea and being therefore convinced that that is the right path?

It really depends. First, I was working alone, so I always did everything by myself. Nowadays, we work together so we have to be able to react to each other.

If somebody brings in an idea that works, you have to be able to detach from your own ideas, otherwise it’s not fair. You have to believe that what you do together is the best thing, and put less weight on what you personally can do.

So, it’s more like foregoing the ego in the process.

Absolutely.

Vlow! Festival book, 2016

How would you define honest design?

It’s tricky because in a way the shittiest design can be super honest. There is not really a rule for it. What you can say is that there are enormous qualitative differences. There is a lot of medium good work, many more bad works and some really good works.

And you can recognise that in

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: how would you go about doing it through your field?

This is always a little bit funny.

I have thought about that often and it is a question that comes up a lot: how can you change lives through design. I think it’s possible but only if it is your job to do that.

So, if Greenpeace asks you to do something, then yes maybe you can change something through design. But it is more about your day-to-day actions.

moving image more to make it more interesting and faster?

Do you think any design can be considered timeless?

In our case, time will tell.

You can look at stuff and think this is an instant classic, for sure though. Being trend based is also a bit unprofessional, as soon as you make trend based decisions, you are no longer content oriented.

Christmas campaign for Hermès Perfumes, 2018

Good design is the intersection of content, feeling right and surprise.

What are the big trends you have observed in your particular field?

Of course, there is a lot more happening with animation. The fact that everyone is always on Instagram and checking their phone has changed a lot of designs.

Every third project is animated.

We do a lot of posters and they are getting more interesting because you can make them interactive.

I think animated typography itself is crazy interesting at the moment.

The thing is today on the phone we check this content, a lot of it is animated or moving but at the same time it doesn’t have sound because nobody has their headphones on. So you can see that subtitles for videos are becoming more important. I think in this area there can happen a lot. How can we combine typography and

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I think what I should mention first is that we really care about our audience. We are not incredibly content based, but incredibly feeling based. We create feelings.

When we do something for Nike, for example, it’s not really about the shoe; it’s about what should this shoe feel like. Essentially we want to communicate happiness through our work. It’s all super colourful. It’s a lot about the act of design. The best thing that can happen is that somebody sees our work and thinks, maybe I should also do something.

Of course, I would like our studio, forty years from now to be

remembered as having done a lot of amazing work, but I would find it even more interesting to be remembered as a studio that found a structure to work together, so everybody finds their place inside the company. We have a lot of rules to ensure everybody is happy. We don’t work overtime.

Every Friday people can work on their personal projects…

On the importance or relevance of storytelling: It depends on what we do.

Sometimes we do short films so there we think more concretely about stories. But what we are always creating are worlds that are more feeling based. “Enter this specific world, and from then on you will feel like this.” A lot of our work is shapes and colours, but we still talk about what they can do.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

I think it really depends on the audience. Often we have to speak to bigger audiences, that cover all ages, and in that case I think it’s important to surprise. But if you are doing a work that has a print run of 100 for a Japanese architect, it is all about the calmness. It all depends on the context. If you have to reach a big audience, then you always have to be loud, because you have to get noticed. But you can also be loud by being incredibly silent through your design.

Studio Feixen

Studio Feixen

What tips would you give to aspiring designers seeking a start in your particular field?

The most important advice is that nothing happens by accident.

So, you should never wait for stuff to happen. If you want something go for it. If you want your own studio, nobody is going to just come and ask you to do stuff for them.

I always say that it’s like searching for a flat. If you just think about it, “Oh, it would be nice to have a flat,” nothing will happen. But if you tell all your friends, then suddenly everybody starts to help you and things start to happen.

48

48

Does that mean that when you first started out, you would just cold call people and offer your ideas?

Absolutely! I was talking to people a lot. If I went to a concert for example, I would think the music was really great but their records looked like shit, so I would just go to them and say maybe we should do something together.

Where do you look for magic?

I think magic happens without planning.

Do you have to ensure that certain conditions are in place to ensure that you have the mental headspace to create?

Like a ritual?

Yes, I do. But actually the most important thing is that our studio

the details, not in the big strokes.

But on the other hand, I also believe that there are thousands of ways to design. I have my own rules, but I have no problem admiring someone’s work, that actually I don’t even like, but I can see that they like what they do. So, you could also say that if somebody creates something and it makes them happy, then it can be considered honest design.

Posters for Nike Air Max Day, 2018

is about wellbeing. We believe that when you are kind of focused and you don’t have a thousand things going on in your life all the time or in your head, like should I visit my grandma again… if you are in a state where you don’t worry and you are comfortable, then that’s the perfect stage you can reach to create. The clearer your mind, the more you are also open to see what is happening around you and really react. Otherwise, you will miss it because you won’t be conscious. We also have this rule that it’s not allowed to really fall in love with something in design. We still want to leave the space to turn left or right if it is needed otherwise it becomes a weakness.

That can be challenging though.

As designers you are trying to find solutions to specific problems, but at the same time I think it’s also an art form so the response you have to a work can be very emotional and subjective. So, how do you keep yourself from falling in love with a concept or an idea and being therefore convinced that that is the right path?

It really depends. First, I was working alone, so I always did everything by myself. Nowadays, we work together so we have to be able to react to each other.

If somebody brings in an idea that works, you have to be able to detach from your own ideas, otherwise it’s not fair. You have to believe that what you do together is the best thing, and put less weight on what you personally can do.

So, it’s more like foregoing the ego in the process.

Absolutely.

Vlow! Festival book, 2016

How would you define honest design?

It’s tricky because in a way the shittiest design can be super honest. There is not really a rule for it. What you can say is that there are enormous qualitative differences. There is a lot of medium good work, many more bad works and some really good works.

And you can recognise that in

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: how would you go about doing it through your field?

This is always a little bit funny.

I have thought about that often and it is a question that comes up a lot: how can you change lives through design. I think it’s possible but only if it is your job to do that.

So, if Greenpeace asks you to do something, then yes maybe you can change something through design. But it is more about your day-to-day actions.

moving image more to make it more interesting and faster?

Do you think any design can be considered timeless?

In our case, time will tell.

You can look at stuff and think this is an instant classic, for sure though. Being trend based is also a bit unprofessional, as soon as you make trend based decisions, you are no longer content oriented.

Christmas campaign for Hermès Perfumes, 2018

Good design is the intersection of content, feeling right and surprise.

What are the big trends you have observed in your particular field?

Of course, there is a lot more happening with animation. The fact that everyone is always on Instagram and checking their phone has changed a lot of designs.

Every third project is animated.

We do a lot of posters and they are getting more interesting because you can make them interactive.

I think animated typography itself is crazy interesting at the moment.

The thing is today on the phone we check this content, a lot of it is animated or moving but at the same time it doesn’t have sound because nobody has their headphones on. So you can see that subtitles for videos are becoming more important. I think in this area there can happen a lot. How can we combine typography and

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I think what I should mention first is that we really care about our audience. We are not incredibly content based, but incredibly feeling based. We create feelings.

When we do something for Nike, for example, it’s not really about the shoe; it’s about what should this shoe feel like. Essentially we want to communicate happiness through our work. It’s all super colourful. It’s a lot about the act of design. The best thing that can happen is that somebody sees our work and thinks, maybe I should also do something.

Of course, I would like our studio, forty years from now to be

remembered as having done a lot of amazing work, but I would find it even more interesting to be remembered as a studio that found a structure to work together, so everybody finds their place inside the company. We have a lot of rules to ensure everybody is happy. We don’t work overtime.

Every Friday people can work on their personal projects…

On the importance or relevance of storytelling: It depends on what we do.

Sometimes we do short films so there we think more concretely about stories. But what we are always creating are worlds that are more feeling based. “Enter this specific world, and from then on you will feel like this.” A lot of our work is shapes and colours, but we still talk about what they can do.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

I think it really depends on the audience. Often we have to speak to bigger audiences, that cover all ages, and in that case I think it’s important to surprise. But if you are doing a work that has a print run of 100 for a Japanese architect, it is all about the calmness. It all depends on the context. If you have to reach a big audience, then you always have to be loud, because you have to get noticed. But you can also be loud by being incredibly silent through your design.

Studio Feixen

Studio Feixen

What tips would you give to aspiring designers seeking a start in your particular field?

The most important advice is that nothing happens by accident.

So, you should never wait for stuff to happen. If you want something go for it. If you want your own studio, nobody is going to just come and ask you to do stuff for them.

I always say that it’s like searching for a flat. If you just think about it, “Oh, it would be nice to have a flat,” nothing will happen. But if you tell all your friends, then suddenly everybody starts to help you and things start to happen.

47 Graphic Design London

Sarah-Grace Mankarious

Sarah-Grace Mankarious

Sarah-Grace Mankarious

“I always find magic when I see people working on their personal projects. No brief, no deadline, no format rules, completely uninhibited.�

Cover for CNN (Alcohol), 2018

47 Graphic Design London

Sarah-Grace Mankarious

Sarah-Grace Mankarious

Sarah-Grace Mankarious

“I always find magic when I see people working on their personal projects. No brief, no deadline, no format rules, completely uninhibited.�

Cover for CNN (Alcohol), 2018

47

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

Be really proactive. Don’t always wait to be asked to do something because there’s always a design problem to be solved, a workflow to be improved, or a subject to explore. I love seeing designers putting effort into researching a subject they’re interested in pitching, or exploring solutions beyond the brief. We can all have an idea, but if you put effort into showing how it can come to life, then people will take that idea seriously. I think this all has to do with passion; let your passion shine through! The other thing I’d liked to have known is, it’s ok to fail. When I first started out I was very cautious of doing the wrong thing as a designer, but really, you’re expected to make mistakes, just as long as you do them fast, and learn from them.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world, how would you go about doing it through your respective field?

(I don’t mean in a superhero kind of way — though why not if that is something you fantasise about — but rather a way to focus attention, or provoke, or bring about grand-scale change.)

How would I save the world?

It seems to be that a number of issues in this world broadly stem from people not wanting things that are different to them.

This is evidenced by the rise of nationalism in large chunks of the US and Europe, where it seems more importance is being put on personal benefits rather than benefits of humanity as a whole. If we’re constantly exposed to different cultures, ways of working, ways of thinking, perhaps we’ll be more accepting of other traditions, cultures and people and thus empathise more with our fellow humans.

Where do you look for magic these days?

I always find magic when I see people working on their personal projects. No brief, no deadline, no format rules, completely uninhibited.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I put importance in using the platform I gratefully have to tell important stories. I would love the work I do, to ever so slightly change people’s worldview, and thereby encourage them to empathise more with each other. For people to see my stories and say, “How interesting, I didn’t realise the world was like that.”

Perhaps even inspire them to action, whether that’s sharing newfound knowledge with their friends about the plight of sex trafficking, or quietly recognising that people eat breakfast in different ways around the world.

What is beauty? for CNN (in collaboration with Anna Ginsburg), 2018

getting more specialised. There are advantages and disadvantages to being so narrowly focused; we get really good at answering particular needs, but conversely we sometimes forget the bigger picture of how the whole design is helping to tell the story.

Good design is the intersection of presenting facts and making them accessible and visually appealing.

Colorscope series for CNN

Colorscope is a multi awardwinning series on CNN exploring our perception of color and its use across cultures, one shade at a time.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

As society advances, our jobs become more niche. Forty years ago there were graphic designers who did everything from laying out an entire magazine to illustrating each of the visuals within it.

Now we have specific designers to focus on how humans interact with a mobile interface. We are

What trends have you observed in your particular field?

Short-form storytelling with a focus on visuals e.g. infographics, rather than the more traditional long-form written article with a few photographs.

On the importance or relevance of storytelling: We’re learning to tell stories efficiently and effectively, to a wider audience since it’s less of a time investment for them. It’s exciting to see data viz evolve into a tool for storytelling in itself.

Audiences have been given the agency to explore data

Film for International Women's Day, about the changing perceptions of female beauty throughout the ages to launch a new CNN Health series about beauty. themselves in a non-linear way, it’s the merging of data, coding and storytelling.

How would you define timeless design?

Timeless design for me is design beyond the latest gimmick, where the story is the focus first and foremost, over all the decoration.

Failure is GREAT! Keep failing, the more fails the better! One fail in one year, is more disastrous than twenty fails in one year, because if you’re failing twenty times, you’re more likely to have at least one win, and regardless, imagine how much you learn from twenty fails!

Your work pays your bills but how do you stay excited about your chosen path?

I love being a visual storyteller.

I’m always looking for new subjects to tell stories about, I’m constantly watching documentaries and I hoover books up, so I have a huge list of ideas that I’d love to come to life. Looking at how others tell stories in new and inventive ways always inspires me too.

Sarah-Grace Mankarious

Sarah-Grace Mankarious

47

47

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

Be really proactive. Don’t always wait to be asked to do something because there’s always a design problem to be solved, a workflow to be improved, or a subject to explore. I love seeing designers putting effort into researching a subject they’re interested in pitching, or exploring solutions beyond the brief. We can all have an idea, but if you put effort into showing how it can come to life, then people will take that idea seriously. I think this all has to do with passion; let your passion shine through! The other thing I’d liked to have known is, it’s ok to fail. When I first started out I was very cautious of doing the wrong thing as a designer, but really, you’re expected to make mistakes, just as long as you do them fast, and learn from them.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world, how would you go about doing it through your respective field?

(I don’t mean in a superhero kind of way — though why not if that is something you fantasise about — but rather a way to focus attention, or provoke, or bring about grand-scale change.)

How would I save the world?

It seems to be that a number of issues in this world broadly stem from people not wanting things that are different to them.

This is evidenced by the rise of nationalism in large chunks of the US and Europe, where it seems more importance is being put on personal benefits rather than benefits of humanity as a whole. If we’re constantly exposed to different cultures, ways of working, ways of thinking, perhaps we’ll be more accepting of other traditions, cultures and people and thus empathise more with our fellow humans.

Where do you look for magic these days?

I always find magic when I see people working on their personal projects. No brief, no deadline, no format rules, completely uninhibited.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I put importance in using the platform I gratefully have to tell important stories. I would love the work I do, to ever so slightly change people’s worldview, and thereby encourage them to empathise more with each other. For people to see my stories and say, “How interesting, I didn’t realise the world was like that.”

Perhaps even inspire them to action, whether that’s sharing newfound knowledge with their friends about the plight of sex trafficking, or quietly recognising that people eat breakfast in different ways around the world.

What is beauty? for CNN (in collaboration with Anna Ginsburg), 2018

getting more specialised. There are advantages and disadvantages to being so narrowly focused; we get really good at answering particular needs, but conversely we sometimes forget the bigger picture of how the whole design is helping to tell the story.

Good design is the intersection of presenting facts and making them accessible and visually appealing.

Colorscope series for CNN

Colorscope is a multi awardwinning series on CNN exploring our perception of color and its use across cultures, one shade at a time.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

As society advances, our jobs become more niche. Forty years ago there were graphic designers who did everything from laying out an entire magazine to illustrating each of the visuals within it.

Now we have specific designers to focus on how humans interact with a mobile interface. We are

What trends have you observed in your particular field?

Short-form storytelling with a focus on visuals e.g. infographics, rather than the more traditional long-form written article with a few photographs.

On the importance or relevance of storytelling: We’re learning to tell stories efficiently and effectively, to a wider audience since it’s less of a time investment for them. It’s exciting to see data viz evolve into a tool for storytelling in itself.

Audiences have been given the agency to explore data

Film for International Women's Day, about the changing perceptions of female beauty throughout the ages to launch a new CNN Health series about beauty. themselves in a non-linear way, it’s the merging of data, coding and storytelling.

How would you define timeless design?

Timeless design for me is design beyond the latest gimmick, where the story is the focus first and foremost, over all the decoration.

Failure is GREAT! Keep failing, the more fails the better! One fail in one year, is more disastrous than twenty fails in one year, because if you’re failing twenty times, you’re more likely to have at least one win, and regardless, imagine how much you learn from twenty fails!

Your work pays your bills but how do you stay excited about your chosen path?

I love being a visual storyteller.

I’m always looking for new subjects to tell stories about, I’m constantly watching documentaries and I hoover books up, so I have a huge list of ideas that I’d love to come to life. Looking at how others tell stories in new and inventive ways always inspires me too.

Sarah-Grace Mankarious

Sarah-Grace Mankarious

47

46 Product Design Milan

Patricia Urquiola

Patricia Urquiola

Patricia Urquiola

“Good Design is building a story and being able to destroy it, reinvent it, make it evolve.”

© Marco Craig

Lobby of Hotel Roommate Giulia (Milan)

46 Product Design Milan

Patricia Urquiola

Patricia Urquiola

Patricia Urquiola

“Good Design is building a story and being able to destroy it, reinvent it, make it evolve.”

© Marco Craig

Lobby of Hotel Roommate Giulia (Milan)

46

46

Where do you look for magic these days?

I don’t think the beginning of a project is always the result of an inspiration from travel or something that happened in my life. Inspirations can come from daily situations, like an emotion or music: there are many different “places” where you can find the magic to begin a project.

I’m fascinated by different worlds, mixing them together. I’m a curious person and an observer; magic is everywhere when you know how to look. I’m currently very attracted to new technologies and VR. I’ve done a VR project imagining objects alive. They can feel emotions and they interact with you. Thinking about emotional technology is one of the themes that is very interesting to me.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world, how would you go about doing it through your respective field?

Being eco-conscious is not a separate theme for us anymore, it is now an integral part of the design process. When I was younger, “the idea” was the most

Failure is part of our life.

When you fail you always have the occasion to start again and to do better.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

I’m the sort of person who when I see a boundary, I focus on how to break it!

What are the big trends you have observed in your particular field?

I don’t believe in trends. As a designer, my work is to design things, but I am also a person who thinks the best thing is to break prejudices. Life is a white page Cabinet (in collaboration with Federico Pepe), Credenza, 2016

important aspect of our work.

But now the way we work with companies has changed, in addition to “the idea,” we now have to know the production and find eco solutions accordingly from the very beginning of the process. We need to pay attention to the materials, the industrial production, the transportation system and the idea behind your project must include this attitude. Small steps but with a deep consciousness of what we are doing.

everyday and the objective is to simplify complex things and the way to achieve this is just do it.

Today more than ever, what does honest design mean to you?

The idea of good/honest design makes me smile, the parameters to judge what is good and what is not change so quickly. Transparency in the design process, constant research and continuous renewing of formal qualities are important components of honest design.

How would you define timeless design?

I think affinity is the key.

The empathy between the design and its user. When the product enters seamlessly in the user’s life, when it becomes a part of his/her life, it can be a candidate for timeless design. In my work, empathy is very important, I always think of the final users’ needs, their emotions when I’m designing as if I’m living their life.

Your work pays your bills, but how do you stay excited about your chosen path?

The challenges are constantly making me love my chosen path.

Other than that, I feel I’m lucky to meet so many interesting people, from various fields of work along my way, that inspire me. I get inspiration from everywhere then re-work. I love human relations, the empathy between the users of my designs, companies. All these excite me about my work.

Good design is the intersection of challenges and breaking prejudices.

It’s taking risks and following a series of juxtapositions, overlappings, unexpected connections, between familiar and unexplored territories.

Good design is building a story and being able to destroy it, reinvent it, make it evolve. As you are constantly doing with your inner self. Good design is also something that can create emotions.

Room of Hotel Roommate Giulia (Milan)

Shimmer Consolle for Glas Italia, 2015

Patricia Urquiola

Patricia Urquiola

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

I was very lucky, as I had great masters that introduced me in the design world, and in my career such as Achille Castiglioni, who taught me to always be curious and enjoy my work, Vico Magistretti, who told me to break boundaries, and Maddalena de Padova from whom I learned to defend my ideas.

In my opinion, it would be a good thing for the new generation of designers to see design thinking on more humanistic and less economic terms. Curiosity is one of the foundations of my work.

46

46

Where do you look for magic these days?

I don’t think the beginning of a project is always the result of an inspiration from travel or something that happened in my life. Inspirations can come from daily situations, like an emotion or music: there are many different “places” where you can find the magic to begin a project.

I’m fascinated by different worlds, mixing them together. I’m a curious person and an observer; magic is everywhere when you know how to look. I’m currently very attracted to new technologies and VR. I’ve done a VR project imagining objects alive. They can feel emotions and they interact with you. Thinking about emotional technology is one of the themes that is very interesting to me.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world, how would you go about doing it through your respective field?

Being eco-conscious is not a separate theme for us anymore, it is now an integral part of the design process. When I was younger, “the idea” was the most

Failure is part of our life.

When you fail you always have the occasion to start again and to do better.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

I’m the sort of person who when I see a boundary, I focus on how to break it!

What are the big trends you have observed in your particular field?

I don’t believe in trends. As a designer, my work is to design things, but I am also a person who thinks the best thing is to break prejudices. Life is a white page Cabinet (in collaboration with Federico Pepe), Credenza, 2016

important aspect of our work.

But now the way we work with companies has changed, in addition to “the idea,” we now have to know the production and find eco solutions accordingly from the very beginning of the process. We need to pay attention to the materials, the industrial production, the transportation system and the idea behind your project must include this attitude. Small steps but with a deep consciousness of what we are doing.

everyday and the objective is to simplify complex things and the way to achieve this is just do it.

Today more than ever, what does honest design mean to you?

The idea of good/honest design makes me smile, the parameters to judge what is good and what is not change so quickly. Transparency in the design process, constant research and continuous renewing of formal qualities are important components of honest design.

How would you define timeless design?

I think affinity is the key.

The empathy between the design and its user. When the product enters seamlessly in the user’s life, when it becomes a part of his/her life, it can be a candidate for timeless design. In my work, empathy is very important, I always think of the final users’ needs, their emotions when I’m designing as if I’m living their life.

Your work pays your bills, but how do you stay excited about your chosen path?

The challenges are constantly making me love my chosen path.

Other than that, I feel I’m lucky to meet so many interesting people, from various fields of work along my way, that inspire me. I get inspiration from everywhere then re-work. I love human relations, the empathy between the users of my designs, companies. All these excite me about my work.

Good design is the intersection of challenges and breaking prejudices.

It’s taking risks and following a series of juxtapositions, overlappings, unexpected connections, between familiar and unexplored territories.

Good design is building a story and being able to destroy it, reinvent it, make it evolve. As you are constantly doing with your inner self. Good design is also something that can create emotions.

Room of Hotel Roommate Giulia (Milan)

Shimmer Consolle for Glas Italia, 2015

Patricia Urquiola

Patricia Urquiola

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

I was very lucky, as I had great masters that introduced me in the design world, and in my career such as Achille Castiglioni, who taught me to always be curious and enjoy my work, Vico Magistretti, who told me to break boundaries, and Maddalena de Padova from whom I learned to defend my ideas.

In my opinion, it would be a good thing for the new generation of designers to see design thinking on more humanistic and less economic terms. Curiosity is one of the foundations of my work.

45

Isabelle Chapuis

“It’s important for me to touch people on an emotional level.

These emotional vibrations bring about inspiration.”

Isabelle Chapuis

Isabelle Chapuis

Photography Paris

Les Coiffes Kamala (in collaboration with Nicolas Jurnjack)

45

Isabelle Chapuis

“It’s important for me to touch people on an emotional level.

These emotional vibrations bring about inspiration.”

Isabelle Chapuis

Isabelle Chapuis

Photography Paris

Les Coiffes Kamala (in collaboration with Nicolas Jurnjack)

45 What have you recently been working on?

I am working on the idea of body adornment as a symbolic system.

In the anthropological sense, adornment is a coded language like a coat of arms; it’s a visual distinction that provides social information. I am interested in exploring the most personal of adornments, the one that is attached to the body, our skin, the natural state in which we are born and which evolves with the passage of time. I am really passionate about this and I have encountered wonderful people for this project. It is all the more

45 Today more than ever, what does honest design mean to you?

Honest design is design that is fair and produced under conditions that respect the environment as well as the people involved.

fascinating because I interview my subjects before shooting them in order to get to know them better.

What is your next big project?

I have a residency in Deauville, where I have been invited by the Festival Planche(s) Contact, in vue of creating a work which will be exhibited during the next edition of the festival in October 2018.

For this series I am exploring the symbolism behind sand.

Deauville is marked by this endless beach that keeps getting bigger every year, which is a singular case because most beaches around the world are faced

What tips would you give to aspiring designers seeking a start in your particular field?

Never give up!

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your field?

I will continue to photograph people and bodies, so that people’s gaze on the diversity of humankind turns benevolent.

Isabelle Chapuis

Etamine (in collaboration with Duy Anh Nhan Duc)

with the opposite phenomenon.

I use sand to represent the circular notion of time. I am inspired by the myth of the phoenix.

The series represents birth, life, death and rebirth…

Barbapapa

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

Through a singular point of view one can challenge viewer’s perceptions. When it is not guilt educing it encourages dialogue.

Sometimes, turning your gaze to the beauty of a work can have just as a lasting and challenging effect.

Failure is a good source for learning.

Where do you look for magic these days?

Free dance allows me to really connect with my inner self and associate with some subtle perceptions, magical sensations that are similar to what I feel when I connect with nature.

How would you define timeless design?

One that questions man and his relationship to the time in which he lives.

What are the big trends you have observed in your particular field?

Going back to what is natural, to being true to yourself.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

It’s important for me to touch people on an emotional level.

These emotional vibrations bring about inspiration.

Éloge du vivant

Isabelle Chapuis

Your work pays your bills, but how do you stay excited about your chosen path?

My passion became my work, which is really thrilling. Sometimes I feel less connected to this creative passion and that’s when I turn to other artistic forms of expression.

I dance, I draw, I sing, the free movement of my body nurtures my approach to photography; it allows me to translate my emotions into images.

45 What have you recently been working on?

I am working on the idea of body adornment as a symbolic system.

In the anthropological sense, adornment is a coded language like a coat of arms; it’s a visual distinction that provides social information. I am interested in exploring the most personal of adornments, the one that is attached to the body, our skin, the natural state in which we are born and which evolves with the passage of time. I am really passionate about this and I have encountered wonderful people for this project. It is all the more

45 Today more than ever, what does honest design mean to you?

Honest design is design that is fair and produced under conditions that respect the environment as well as the people involved.

fascinating because I interview my subjects before shooting them in order to get to know them better.

What is your next big project?

I have a residency in Deauville, where I have been invited by the Festival Planche(s) Contact, in vue of creating a work which will be exhibited during the next edition of the festival in October 2018.

For this series I am exploring the symbolism behind sand.

Deauville is marked by this endless beach that keeps getting bigger every year, which is a singular case because most beaches around the world are faced

What tips would you give to aspiring designers seeking a start in your particular field?

Never give up!

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your field?

I will continue to photograph people and bodies, so that people’s gaze on the diversity of humankind turns benevolent.

Isabelle Chapuis

Etamine (in collaboration with Duy Anh Nhan Duc)

with the opposite phenomenon.

I use sand to represent the circular notion of time. I am inspired by the myth of the phoenix.

The series represents birth, life, death and rebirth…

Barbapapa

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

Through a singular point of view one can challenge viewer’s perceptions. When it is not guilt educing it encourages dialogue.

Sometimes, turning your gaze to the beauty of a work can have just as a lasting and challenging effect.

Failure is a good source for learning.

Where do you look for magic these days?

Free dance allows me to really connect with my inner self and associate with some subtle perceptions, magical sensations that are similar to what I feel when I connect with nature.

How would you define timeless design?

One that questions man and his relationship to the time in which he lives.

What are the big trends you have observed in your particular field?

Going back to what is natural, to being true to yourself.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

It’s important for me to touch people on an emotional level.

These emotional vibrations bring about inspiration.

Éloge du vivant

Isabelle Chapuis

Your work pays your bills, but how do you stay excited about your chosen path?

My passion became my work, which is really thrilling. Sometimes I feel less connected to this creative passion and that’s when I turn to other artistic forms of expression.

I dance, I draw, I sing, the free movement of my body nurtures my approach to photography; it allows me to translate my emotions into images.

44 Brousse & Ruddigkeit

Code Design Berlin

“Open your mind and let go of your fears, of the idea ‘ I’m not good enough ’.”

Poster for Chamber Orchestra, 2015

Brousse & Ruddigkeit

Lea Brousse

44 Brousse & Ruddigkeit

Code Design Berlin

“Open your mind and let go of your fears, of the idea ‘ I’m not good enough ’.”

Poster for Chamber Orchestra, 2015

Brousse & Ruddigkeit

Lea Brousse

44

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

Try to believe in yourself and to get new stuff. Do not look for safe creative jobs only: creativity and safety don’t work together.

Open your mind and let go of your fears, of the idea “I’m not good enough”.

Where do you look for magic these days?

In nature, yoga, meditation, spirituality, and food.

What are the big trends you have observed in your particular field?

Triangles, deers, parallax scrolling, pornography, flamingos, ananas, the X logo.

How would you define timeless design?

The opposite of trendy and fashionable.

Good design is the intersection of function and aesthetic.

Today more than ever, what does honest design mean to you?

New.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Because people think it’s trendy, cool to be a designer. It sounds nice! But people also get tired of working like crazy to pay rent, taxes, get sick and frustrated of their own life. All people are creators, so maybe, we try to open this dimension: to create our own beautiful world dimension.

How important is it for you to inspire people?

It’s not very relevant.

How would you like people to remember your work, and what sort of legacy do you want to leave?

We have created a new concept of graphic design called code design.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your respective field?

Don’t spread the world “Massimo Vignelli”.

Code design for Tanzjahr, 2016

Failure is an opportunity

to learn from your mistakes and create anew.

Code design for TANZPAKT Stadt-Land-Bund, 2017

In 2016 three outstanding international dance events found an umbrella under the name Tanzjahr 2016. The identity of this project is based on a system of three elements, while dancing together to build typography, icons, many languages and designs forms.

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

What’s missing, according to me, is the human dimension.

By putting money as a unique goal for creativity, I think we are totally missing the beauty of life…

To do more, to produce more, to consume more, faster… is contrary to innovation.

Your work pays your bills, but how do you stay excited about your chosen path?

I try to stay excited by doing other things too. Creativity has no limits.

Brousse & Ruddigkeit

Brousse & Ruddigkeit

When you gave your talk for Design Friends was that your first time in Luxembourg?

We had come to Luxembourg already twice before. When I arrived, I was impressed by how clean and peaceful it was and by how nice people are. I like the architecture downtown. It’s always a pleasure to be there.Compared to Berlin people are more interested and passionate about their work, what they are doing, and curious.

That’s good!

44

44

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

Try to believe in yourself and to get new stuff. Do not look for safe creative jobs only: creativity and safety don’t work together.

Open your mind and let go of your fears, of the idea “I’m not good enough”.

Where do you look for magic these days?

In nature, yoga, meditation, spirituality, and food.

What are the big trends you have observed in your particular field?

Triangles, deers, parallax scrolling, pornography, flamingos, ananas, the X logo.

How would you define timeless design?

The opposite of trendy and fashionable.

Good design is the intersection of function and aesthetic.

Today more than ever, what does honest design mean to you?

New.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Because people think it’s trendy, cool to be a designer. It sounds nice! But people also get tired of working like crazy to pay rent, taxes, get sick and frustrated of their own life. All people are creators, so maybe, we try to open this dimension: to create our own beautiful world dimension.

How important is it for you to inspire people?

It’s not very relevant.

How would you like people to remember your work, and what sort of legacy do you want to leave?

We have created a new concept of graphic design called code design.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your respective field?

Don’t spread the world “Massimo Vignelli”.

Code design for Tanzjahr, 2016

Failure is an opportunity

to learn from your mistakes and create anew.

Code design for TANZPAKT Stadt-Land-Bund, 2017

In 2016 three outstanding international dance events found an umbrella under the name Tanzjahr 2016. The identity of this project is based on a system of three elements, while dancing together to build typography, icons, many languages and designs forms.

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

What’s missing, according to me, is the human dimension.

By putting money as a unique goal for creativity, I think we are totally missing the beauty of life…

To do more, to produce more, to consume more, faster… is contrary to innovation.

Your work pays your bills, but how do you stay excited about your chosen path?

I try to stay excited by doing other things too. Creativity has no limits.

Brousse & Ruddigkeit

Brousse & Ruddigkeit

When you gave your talk for Design Friends was that your first time in Luxembourg?

We had come to Luxembourg already twice before. When I arrived, I was impressed by how clean and peaceful it was and by how nice people are. I like the architecture downtown. It’s always a pleasure to be there.Compared to Berlin people are more interested and passionate about their work, what they are doing, and curious.

That’s good!

44

Uwe R. Brückner Scenography Stuttgart

“I trust in sincere, authentic design, which leaves room for individual interpretation.”

© Atelier Brückner

Uwe R. Brückner

43

The Macallan Whiskey Distillery Visitor Experience for Craigellachie (Scotland)

Uwe R. Brückner Scenography Stuttgart

“I trust in sincere, authentic design, which leaves room for individual interpretation.”

© Atelier Brückner

Uwe R. Brückner

43

The Macallan Whiskey Distillery Visitor Experience for Craigellachie (Scotland)

43

43 What have you been up to in the time since you’ve been in Luxembourg?

Since then, I was in Barcelona for a museum project; in Basel to manage “silent sketch-day” with my bachelors students; in Sevilla for Semana Santa; for a workshop at Landes Museum Zürich; in Scotland, at the New Macallan Whiskey Experience, and in Sofia as a speaker at an Unesco Conference.

When you gave your talk for Design Friends was that your first time in Luxembourg?

It was my second time in Luxembourg. The first time I was visiting the city in the context of Parlamentarium, the centre of information featuring the European Parliament.

What tips would you give to aspiring designers seeking a start in your particular field?

Start thinking from the end, first.

Design with faith, confidence, and courage. Respect the content and develop the form from the content.

Create context from content Elaborate concepts based on the message you want to convey

movement which focuses on show-case orientated exhibitionarchitecture on the one hand and theatrical or media-dominated settings on the other hand, with few artistically orientated installations, which count on impressive gestures and sophisticated narratives.

to display temporary design as something durable, an influential contribution to the cultural richness of our society.

On the importance or relevance of storytelling: Storytelling means to give things, stories, protagonists or abstract content a voice, or a face, and to trigger attention and to develop communication between the content, staging and the audience.

Good design is the intersection of narrative, space, dramaturgy and recipient.

Today more than ever, what does honest design mean to you?

I trust in sincere, authentic design, which leaves room for individual interpretation.

How would you define timeless design?

Timeless design behaves like a seed that takes root in your mind like a melody, like a perfume, like a scene out of a film, or a saying.

What are the big trends you have observed in your particular field?

We are living in hybrid times in regard to scenographical design.

There is a strong retro-design

Failure is to believe that design

is based on one truth only or a singular perspective.

How important is it for you to inspire people?

It is highly satisfying to see beaming eyes, echoing back my creativity when I share my ideas, sketches, plots, and experiences.

How would you like people to remember your work, and what sort of legacy do you want to leave?

I would like my work to be perceived as a memorable and unique scenography that was dedicated to a sophisticated audience. My legacy could be a foundation with the mission

© Peter Studer

Where do you look for magic these days?

I discover magic almost everywhere: in newspapers, on Internet platforms, in literature, in movies, in music and, most importantly, by having workshops with my teams, the clients, curators, experts, and colleagues.

Experiencing Frontiers (Biel Expo.02), 2002

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

Good scenography surprises and provokes awareness in the audience.

It conveys logic and magic.

© Uwe Ditz

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your respective field?

The most crucial and challenging themes which need to be scenographically discussed are: religious tolerance, climate change & environment, energy & consumption, mobility & urbanism, war & peace. Even if some of these topics are not as popular as fashion-shows, I strongly believe we need to stage them prominently and impressively in order to provoke public awareness.

Uwe R. Brückner

Uwe R. Brückner

What is your next big project?

A museum in Barcelona.

and receive from the addressee.

Meet your audience at eye-level.

Cultivate your own (design) signature and stick to it consistently.

But be flexible, trust in alternatives, change perspectives. Put yourself in the position of your clients or audience — design for them as if you were them.

Cyclebowl (Expo Hanover), 2000

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

When I started as a scenographer 20 years ago only a handful European designers called themselves scenographers.

In the nineties, there were about half a dozen universities, which offered classes for courses in scenography. Today, at least a hundred firms are competing

for interesting projects and students may choose among 40 institutions (with different specialisations in certain disciplines).

Scenography has become a movement.

Your work pays your bills, but how do you stay excited about your chosen path?

The excitement of our branch is the diversity of projects from classical exhibition design for the Grand Egyptian Museum to an artistic interpretation of human borderline-experiences like Expo-pavilion “Grenze(n) (Er)leben” (Experiencing Frontiers).

43

43 What have you been up to in the time since you’ve been in Luxembourg?

Since then, I was in Barcelona for a museum project; in Basel to manage “silent sketch-day” with my bachelors students; in Sevilla for Semana Santa; for a workshop at Landes Museum Zürich; in Scotland, at the New Macallan Whiskey Experience, and in Sofia as a speaker at an Unesco Conference.

When you gave your talk for Design Friends was that your first time in Luxembourg?

It was my second time in Luxembourg. The first time I was visiting the city in the context of Parlamentarium, the centre of information featuring the European Parliament.

What tips would you give to aspiring designers seeking a start in your particular field?

Start thinking from the end, first.

Design with faith, confidence, and courage. Respect the content and develop the form from the content.

Create context from content Elaborate concepts based on the message you want to convey

movement which focuses on show-case orientated exhibitionarchitecture on the one hand and theatrical or media-dominated settings on the other hand, with few artistically orientated installations, which count on impressive gestures and sophisticated narratives.

to display temporary design as something durable, an influential contribution to the cultural richness of our society.

On the importance or relevance of storytelling: Storytelling means to give things, stories, protagonists or abstract content a voice, or a face, and to trigger attention and to develop communication between the content, staging and the audience.

Good design is the intersection of narrative, space, dramaturgy and recipient.

Today more than ever, what does honest design mean to you?

I trust in sincere, authentic design, which leaves room for individual interpretation.

How would you define timeless design?

Timeless design behaves like a seed that takes root in your mind like a melody, like a perfume, like a scene out of a film, or a saying.

What are the big trends you have observed in your particular field?

We are living in hybrid times in regard to scenographical design.

There is a strong retro-design

Failure is to believe that design

is based on one truth only or a singular perspective.

How important is it for you to inspire people?

It is highly satisfying to see beaming eyes, echoing back my creativity when I share my ideas, sketches, plots, and experiences.

How would you like people to remember your work, and what sort of legacy do you want to leave?

I would like my work to be perceived as a memorable and unique scenography that was dedicated to a sophisticated audience. My legacy could be a foundation with the mission

© Peter Studer

Where do you look for magic these days?

I discover magic almost everywhere: in newspapers, on Internet platforms, in literature, in movies, in music and, most importantly, by having workshops with my teams, the clients, curators, experts, and colleagues.

Experiencing Frontiers (Biel Expo.02), 2002

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

Good scenography surprises and provokes awareness in the audience.

It conveys logic and magic.

© Uwe Ditz

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your respective field?

The most crucial and challenging themes which need to be scenographically discussed are: religious tolerance, climate change & environment, energy & consumption, mobility & urbanism, war & peace. Even if some of these topics are not as popular as fashion-shows, I strongly believe we need to stage them prominently and impressively in order to provoke public awareness.

Uwe R. Brückner

Uwe R. Brückner

What is your next big project?

A museum in Barcelona.

and receive from the addressee.

Meet your audience at eye-level.

Cultivate your own (design) signature and stick to it consistently.

But be flexible, trust in alternatives, change perspectives. Put yourself in the position of your clients or audience — design for them as if you were them.

Cyclebowl (Expo Hanover), 2000

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

When I started as a scenographer 20 years ago only a handful European designers called themselves scenographers.

In the nineties, there were about half a dozen universities, which offered classes for courses in scenography. Today, at least a hundred firms are competing

for interesting projects and students may choose among 40 institutions (with different specialisations in certain disciplines).

Scenography has become a movement.

Your work pays your bills, but how do you stay excited about your chosen path?

The excitement of our branch is the diversity of projects from classical exhibition design for the Grand Egyptian Museum to an artistic interpretation of human borderline-experiences like Expo-pavilion “Grenze(n) (Er)leben” (Experiencing Frontiers).

Andreas Diefenbach

Phoenix Design

Phoenix Design

Product Design Stuttgart • Munich • Shanghai

“There is a magical momentum behind creating a common idea.

A curious and passionate team that gets together every day to curate new thoughts makes for many magical moments.”

Suspended luminaire Summera (Shapes)

42

Andreas Diefenbach

Phoenix Design

Phoenix Design

Product Design Stuttgart • Munich • Shanghai

“There is a magical momentum behind creating a common idea.

A curious and passionate team that gets together every day to curate new thoughts makes for many magical moments.”

Suspended luminaire Summera (Shapes)

42

42

42

What have you been up to in the months since you were in Luxembourg?

Digitisation plays an increasingly important role in classic industrial design. Since I came to Luxembourg, I have, together with the Phoenix Design team, continued working on the interpretation of our partners’ products within the context of the digital ecosystem.

feedback, open discussion of ideas and concepts as well as the capacity for dialogue will help new designers enormously to adapt quickly to a new field and to feel comfortable within a new context.

Today more than ever, what does honest design mean to you?

Design is similar to architecture, in that honest design needs to come from within. Honest design begins with healthy thoughts at the root and foundation of an idea.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world, how would you go about doing it through your respective field? (I don’t mean in a superhero kind of way — though why not if that is something you fantasise about — but rather a way to focus attention, or provoke, or bring about grand-scale change.)

As designer we create the future the way we would like to experience it and see it. Our work often has a strategic component that

Which designer should we invite next?

As designers we create the future, that’s why trend research plays an important role. Since the beginning of my career I have been following the trend forecaster Li Edelkoort. She has always been a rich fountain of inspiration.

What is your next big project?

A particular challenge for our team at Phoenix Design is working with start-ups. There is so much to do at once, without being able to fall back on anything that already exists.

You not only design a product, but a brand with a completely new digital ecosystem. Such a collaboration is one of our bigger projects, which we proudly presented to the world recently: the strategic partnership with unwerk Group.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

Seeing people’s eyes light up when they experience our products is the beginning of a lasting relationship.

A great idea is simple but not insignificant, as such we want our designs to blend into the daily life of people naturally, without boring or annoying them. It is only then that we can manage to create

Basin Mixer Uno (Axor)

lasting and sincere bonds with our designs, and that’s what we want our legacy to be.

Where do you look for magic these days?

There is a magical momentum behind creating a common idea.

A curious and passionate team that gets together every day to curate new thoughts makes for many magical moments.

What are the big trends you have observed in your particular field?

The substantial problems driving humanity like hunger, sickness and war have become manageable.

What will drive the future are things like individualism, spirituality and the increasing need for meaning.

It is in our power to interpret these future scenarios sensibly and manage them accordingly.

How would you define timeless design?

Everything has its own time.

There is no such thing as timelessness. There is longevity, however. When creating a durable product you have to reduce it, condense it, to its essence. It’s about the audacity and essence of an idea, which takes shape as a logical result of a timeless concept. Nothing more, nothing less.

What would you have liked to know when you first started working?

When is an idea ripe for innovation?

What tips would you give to aspiring designers seeking a start in your particular field?

Our profession is very subjective.

Many designers doubt their talent.

A healthy culture that involves

Robot vacuum cleaner Kobold VR200 (Vorwerk)

In my experience, real innovation is less horizontal but happens in spurts. Today, it is no longer enough to be the best in your field.

As design strategists we have the challenging task of inventing continuously fresh, brave and new ideas about how we should live in the future. At the same time we have to ensure that these innovative ideas are also marketable and of

Good design is the intersection of logic, morals and magic.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

The boundaries between innovation and design are often quite fluid.

Design alone is losing its meaning, since most of the world around us is more or less “designed”.

Its advances in innovation are rare.

optimal quality. Empathy, curiosity and a slight naivety have always been and will continue to be the key to our profession.

Your work pays your bills, but how do you stay excited about your chosen path?

Versatility, change and being are the only constants in our profession.

So long as people and creation are imperfect, there is always room for improvement and that motivates me!

Phoenix Design

Phoenix Design

When you gave your talk for Design Friends was that your first time in Luxembourg?

I found Luxembourg to be very diverse. Many cultures and languages come together and I thought this diversity was very impressive and inspiring.

defines a course for our partners and that many years ahead.

It’s at this junction that we need to fight for a more natural and human world. If empathy gains in importance along with the pursuit of profitability, then society has a chance to grow, especially in a world that will be complemented by AI and robots and not dominated by it.

42

42

What have you been up to in the months since you were in Luxembourg?

Digitisation plays an increasingly important role in classic industrial design. Since I came to Luxembourg, I have, together with the Phoenix Design team, continued working on the interpretation of our partners’ products within the context of the digital ecosystem.

feedback, open discussion of ideas and concepts as well as the capacity for dialogue will help new designers enormously to adapt quickly to a new field and to feel comfortable within a new context.

Today more than ever, what does honest design mean to you?

Design is similar to architecture, in that honest design needs to come from within. Honest design begins with healthy thoughts at the root and foundation of an idea.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world, how would you go about doing it through your respective field? (I don’t mean in a superhero kind of way — though why not if that is something you fantasise about — but rather a way to focus attention, or provoke, or bring about grand-scale change.)

As designer we create the future the way we would like to experience it and see it. Our work often has a strategic component that

Which designer should we invite next?

As designers we create the future, that’s why trend research plays an important role. Since the beginning of my career I have been following the trend forecaster Li Edelkoort. She has always been a rich fountain of inspiration.

What is your next big project?

A particular challenge for our team at Phoenix Design is working with start-ups. There is so much to do at once, without being able to fall back on anything that already exists.

You not only design a product, but a brand with a completely new digital ecosystem. Such a collaboration is one of our bigger projects, which we proudly presented to the world recently: the strategic partnership with unwerk Group.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

Seeing people’s eyes light up when they experience our products is the beginning of a lasting relationship.

A great idea is simple but not insignificant, as such we want our designs to blend into the daily life of people naturally, without boring or annoying them. It is only then that we can manage to create

Basin Mixer Uno (Axor)

lasting and sincere bonds with our designs, and that’s what we want our legacy to be.

Where do you look for magic these days?

There is a magical momentum behind creating a common idea.

A curious and passionate team that gets together every day to curate new thoughts makes for many magical moments.

What are the big trends you have observed in your particular field?

The substantial problems driving humanity like hunger, sickness and war have become manageable.

What will drive the future are things like individualism, spirituality and the increasing need for meaning.

It is in our power to interpret these future scenarios sensibly and manage them accordingly.

How would you define timeless design?

Everything has its own time.

There is no such thing as timelessness. There is longevity, however. When creating a durable product you have to reduce it, condense it, to its essence. It’s about the audacity and essence of an idea, which takes shape as a logical result of a timeless concept. Nothing more, nothing less.

What would you have liked to know when you first started working?

When is an idea ripe for innovation?

What tips would you give to aspiring designers seeking a start in your particular field?

Our profession is very subjective.

Many designers doubt their talent.

A healthy culture that involves

Robot vacuum cleaner Kobold VR200 (Vorwerk)

In my experience, real innovation is less horizontal but happens in spurts. Today, it is no longer enough to be the best in your field.

As design strategists we have the challenging task of inventing continuously fresh, brave and new ideas about how we should live in the future. At the same time we have to ensure that these innovative ideas are also marketable and of

Good design is the intersection of logic, morals and magic.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

The boundaries between innovation and design are often quite fluid.

Design alone is losing its meaning, since most of the world around us is more or less “designed”.

Its advances in innovation are rare.

optimal quality. Empathy, curiosity and a slight naivety have always been and will continue to be the key to our profession.

Your work pays your bills, but how do you stay excited about your chosen path?

Versatility, change and being are the only constants in our profession.

So long as people and creation are imperfect, there is always room for improvement and that motivates me!

Phoenix Design

Phoenix Design

When you gave your talk for Design Friends was that your first time in Luxembourg?

I found Luxembourg to be very diverse. Many cultures and languages come together and I thought this diversity was very impressive and inspiring.

defines a course for our partners and that many years ahead.

It’s at this junction that we need to fight for a more natural and human world. If empathy gains in importance along with the pursuit of profitability, then society has a chance to grow, especially in a world that will be complemented by AI and robots and not dominated by it.

Laura Straßer

Product Design Berlin

“I am convinced that something can be timeless for a short time, if it brings the right living conditions, materials, aesthetic feeling and the needs of the people on a common denominator.”

Flowerbirdy (in production with Porzellan Manufaktur Reichenbach), 2017

Laura Straßer

Laura Straßer

41

Laura Straßer

Product Design Berlin

“I am convinced that something can be timeless for a short time, if it brings the right living conditions, materials, aesthetic feeling and the needs of the people on a common denominator.”

Flowerbirdy (in production with Porzellan Manufaktur Reichenbach), 2017

Laura Straßer

Laura Straßer

41

41

© Jürgen Schmidt

41

It’s been a while since you’ve been in Luxembourg, what have you been up to in the time since?

I was able to complete a very nice project for a museum in Laupheim in Southern Germany.

The permanent exhibition sheds light on the lives of four personalities who have left the town to seek their fortune in the United States, where they have become very successful entrepreneurs. For each of the four personalities, an object in porcelain has been developed as a representation. They represent the respective business fields of the emigrants. The objects are allowed to be touched in the exhibition, which I find very appealing, as porcelain is such a sensual material.

When you gave your talk for Design Friends was that your first time in Luxembourg?

I had been looking forward to the stay, but had no exact picture of Luxembourg. I mean, when do you ever come to Luxembourg, if you do not work there professionally, to me, it did not seem to be a very touristy place. But it is worth the travel! I perceived the city as very beautiful and hospitable.

Especially the food was fantastic.

By getting in touch with Design Friends, I also got a different insight into the city. After my talk, there was a little get together at the museum, and above all, I got

to know a lot about Luxembourg designers, about their situation and how and where they work.

That was exciting and gave me a new look at the German design scene as well. Whether you work in a small or large country in Europe as a designer obviously makes a real difference. I found everything very friendly and the exchange was very inspiring. It was a pity that we did not stay longer.

Which designer should we invite next?

Sep Verboom and Tjeerd Veenhoven, two designers whose work I find very relevant and exciting.

Both work on sustainability issues and do so very profoundly and conscientiously. Not easy with this topic.

What is your next big project?

At the moment I am working on a new ceramic brand. I am very curious and thrilled. There are so many things to think about and so many things we need to look at from a design perspective.

I love to build up something from scratch. I believe this could become a lifetime project.

Where do you look for magic these days?

In any kind of workshop — I love to visit companies, factories and little craftsman studios.

This is the best for me.

Today more than ever, what does honest design mean to you?

Good labour and fair deals.

Responsible use of materials and work, with the focus on good design and still and always beauty.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

That’s a very tricky question.

I actually do not necessarily want to be legendary; I would be fine with not being known even after I die. But the idea, that somebody might find my work at a flea market maybe someday in the future and buy it, because they like it so much, is a nice thought.

Good design is the intersection of function and beauty.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your field?

For me good working conditions are key. I’m fascinated by entrepreneurs and businesswomen who do not care too much about maximising profits or growing their businesses, but above all want to make sure that their employees do meaningful, value-added work.

It is not about growth but about maintaining a state or improving that state. It’s a long-term view, because we cannot grow anymore, we have to think more about how and where we have to restrict ourselves. For me, a sustainable entrepreneur understands and oversees the entire value chain.

Where does my material come from?

Who processes it and who uses my product? A company is a living organism for me, it has to be taken care of. I admire entrepreneurs who value and support their employees.

Those who want to make a good product, which gives pleasure to its users and which ideally accompanies them on their life’s journey. You can also support such companies as designers with design consultancy and good design.

I think I would like to see that as my contribution to the greater good.

How would you define timeless design?

I do not know if that really exists, at least if you look at it from a longer time perspective. The artefacts surrounding us, some of which are very elaborate, are always a product of their time. Of course, mankind has been sitting or lying for a long time, drinking and eating from vessels for a very long time — yet the shape of these objects is very time-dependent. I do not know if a contemporary from the Biedermeier would have described an Eames Chair as “Timeless Design” as we do today.

But for a short time, of course,

we can talk about Timeless Design.

And I am convinced that something can be timeless for a short time, if it brings the right living conditions, materials, aesthetic feeling and the needs of the people on a common denominator.

the design of living spaces and thus also of social interaction.

It’s not just about the end product that emerges at the end of a production process, but it’s also about everything that precedes it.

Design can make a sustainable

Failure is good and teaches you.

It's important to fail fast and then move on.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

Yes, I think that for many people design is now a term, which means something to them. People talk much more about “design” than in the past. But there are many meanings and interpretations of what design really is. I believe that my interpretation of design or what design can do and should do is not a common interpretation.

For me, the term stands for

contribution to the production process and many people do not recognise that. They only see the outer shell and are not aware of the far-reaching consequences of all the decisions that are made during the whole process.

But maybe that’s irrelevant so long as designers do their work responsibly.

TalkingHeads (in collaboration with David Brüll, in production with Porzellan Manufaktur Reichenbach), 2017-2018

Touch-talking TalkingHeads are a result of the research on the touch sensitivity of porcelain and its suitability for interactive applications.

Your work pays your bills, but how do you stay excited about your chosen path?

By spending time with the people who produce my work or the work of others. It is so exciting, to see them doing it — and if they do it with love, it just makes me happy and very excited.

Laura Straßer

Laura Straßer

Porcelain objects for the Museum Laupheim, 2018

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

It is important to stay open, in many ways. Open to new things, because you never finish learning.

I have to force myself not to always swim in known waters. Surely, you do not always have the time, but it is important to at least take time off once in a while. One should also be open with colleagues. I found it incredibly important to interact with other designers over and over again. Unfortunately, there is some competition in our profession — but I have always taken a lot more out of it, when I was open and honest with colleagues and also shared things and knowledge.

Experiences, contacts and knowledge.

41

© Jürgen Schmidt

41

It’s been a while since you’ve been in Luxembourg, what have you been up to in the time since?

I was able to complete a very nice project for a museum in Laupheim in Southern Germany.

The permanent exhibition sheds light on the lives of four personalities who have left the town to seek their fortune in the United States, where they have become very successful entrepreneurs. For each of the four personalities, an object in porcelain has been developed as a representation. They represent the respective business fields of the emigrants. The objects are allowed to be touched in the exhibition, which I find very appealing, as porcelain is such a sensual material.

When you gave your talk for Design Friends was that your first time in Luxembourg?

I had been looking forward to the stay, but had no exact picture of Luxembourg. I mean, when do you ever come to Luxembourg, if you do not work there professionally, to me, it did not seem to be a very touristy place. But it is worth the travel! I perceived the city as very beautiful and hospitable.

Especially the food was fantastic.

By getting in touch with Design Friends, I also got a different insight into the city. After my talk, there was a little get together at the museum, and above all, I got

to know a lot about Luxembourg designers, about their situation and how and where they work.

That was exciting and gave me a new look at the German design scene as well. Whether you work in a small or large country in Europe as a designer obviously makes a real difference. I found everything very friendly and the exchange was very inspiring. It was a pity that we did not stay longer.

Which designer should we invite next?

Sep Verboom and Tjeerd Veenhoven, two designers whose work I find very relevant and exciting.

Both work on sustainability issues and do so very profoundly and conscientiously. Not easy with this topic.

What is your next big project?

At the moment I am working on a new ceramic brand. I am very curious and thrilled. There are so many things to think about and so many things we need to look at from a design perspective.

I love to build up something from scratch. I believe this could become a lifetime project.

Where do you look for magic these days?

In any kind of workshop — I love to visit companies, factories and little craftsman studios.

This is the best for me.

Today more than ever, what does honest design mean to you?

Good labour and fair deals.

Responsible use of materials and work, with the focus on good design and still and always beauty.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

That’s a very tricky question.

I actually do not necessarily want to be legendary; I would be fine with not being known even after I die. But the idea, that somebody might find my work at a flea market maybe someday in the future and buy it, because they like it so much, is a nice thought.

Good design is the intersection of function and beauty.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your field?

For me good working conditions are key. I’m fascinated by entrepreneurs and businesswomen who do not care too much about maximising profits or growing their businesses, but above all want to make sure that their employees do meaningful, value-added work.

It is not about growth but about maintaining a state or improving that state. It’s a long-term view, because we cannot grow anymore, we have to think more about how and where we have to restrict ourselves. For me, a sustainable entrepreneur understands and oversees the entire value chain.

Where does my material come from?

Who processes it and who uses my product? A company is a living organism for me, it has to be taken care of. I admire entrepreneurs who value and support their employees.

Those who want to make a good product, which gives pleasure to its users and which ideally accompanies them on their life’s journey. You can also support such companies as designers with design consultancy and good design.

I think I would like to see that as my contribution to the greater good.

How would you define timeless design?

I do not know if that really exists, at least if you look at it from a longer time perspective. The artefacts surrounding us, some of which are very elaborate, are always a product of their time. Of course, mankind has been sitting or lying for a long time, drinking and eating from vessels for a very long time — yet the shape of these objects is very time-dependent. I do not know if a contemporary from the Biedermeier would have described an Eames Chair as “Timeless Design” as we do today.

But for a short time, of course,

we can talk about Timeless Design.

And I am convinced that something can be timeless for a short time, if it brings the right living conditions, materials, aesthetic feeling and the needs of the people on a common denominator.

the design of living spaces and thus also of social interaction.

It’s not just about the end product that emerges at the end of a production process, but it’s also about everything that precedes it.

Design can make a sustainable

Failure is good and teaches you.

It's important to fail fast and then move on.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

Yes, I think that for many people design is now a term, which means something to them. People talk much more about “design” than in the past. But there are many meanings and interpretations of what design really is. I believe that my interpretation of design or what design can do and should do is not a common interpretation.

For me, the term stands for

contribution to the production process and many people do not recognise that. They only see the outer shell and are not aware of the far-reaching consequences of all the decisions that are made during the whole process.

But maybe that’s irrelevant so long as designers do their work responsibly.

TalkingHeads (in collaboration with David Brüll, in production with Porzellan Manufaktur Reichenbach), 2017-2018

Touch-talking TalkingHeads are a result of the research on the touch sensitivity of porcelain and its suitability for interactive applications.

Your work pays your bills, but how do you stay excited about your chosen path?

By spending time with the people who produce my work or the work of others. It is so exciting, to see them doing it — and if they do it with love, it just makes me happy and very excited.

Laura Straßer

Laura Straßer

Porcelain objects for the Museum Laupheim, 2018

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

It is important to stay open, in many ways. Open to new things, because you never finish learning.

I have to force myself not to always swim in known waters. Surely, you do not always have the time, but it is important to at least take time off once in a while. One should also be open with colleagues. I found it incredibly important to interact with other designers over and over again. Unfortunately, there is some competition in our profession — but I have always taken a lot more out of it, when I was open and honest with colleagues and also shared things and knowledge.

Experiences, contacts and knowledge.

40 Armando Milani Armando Milani

Armando Milani

Graphic Design Milan

“You need to pick up the images and emotions of everything around you, and then filter them through your culture, your sensitivity and your way of thinking.”

© Alis Mars

Rush for Freedom (Freedom Manifesto Rome), 2017

40 Armando Milani Armando Milani

Armando Milani

Graphic Design Milan

“You need to pick up the images and emotions of everything around you, and then filter them through your culture, your sensitivity and your way of thinking.”

© Alis Mars

Rush for Freedom (Freedom Manifesto Rome), 2017

40

40 they are only fashions that are present today and will no longer be tomorrow. There’s a large number of works characterised by an unspecified number of images, colours and typefaces, often superimposed in the most unthinkable ways; I see longtexts, devoid of any real content.

Only a timeless design can always be current, even after decades.

Orspas Soccer Milan, 2017

It’s been one year since you came to Luxembourg, what have you been up to in the months since?

I have devoted all my time and effort to my next big project, an exhibition that will be launched just this fall: Ubuntu. The concept of the African word “Ubuntu” is wonderful: it means humanity, sharing, empathy, and tolerance.

We really need these important concepts today.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

I invite young designers, first of all, to study the history of graphic design: in order to know where we want to go, we need to understand where we came from. I also tell them to study the rules of good design, which are indispensable.

Only by knowing them, it is possible to break them to create a certain effect. As years go by, the ways of using design change, but the methods for creating good

design are always the same, they never change. The Vignelli Canon, in my opinion, is fundamental.

Today all the teachings of the greatest masters of design are readily accessible to anyone.

The computer, though it is an extraordinary tool, must not “think” in lieu of the designer.

Where do you look for magic these days?

There was a great friend of mine a graphic designer in New York, Gene Federico, who said he found his greatest inspirations walking down the street. I agree with him.

I think it’s really hard to find a solution just staying at home and thinking. You need to move.

That’s my secret. You need to pick up the images and emotions of everything around you, and then filter them through your culture, your sensitivity and your way of thinking.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the

What are the big trends you have observed in your particular field?

I’m not at all accustomed to following trends, precisely because

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

It’s much more important that people be inspired by good design in its entirety, regardless of who creates it. Good design accurately communicates an idea, is responsible, ethically correct, and timeless. It has the extraordinary ability to actively intervene in our everyday life and improve it.

The Steps of The Man’s Values (Ubuntu, 2018 version), 2010

Failure is failing to convince

a client of the validity of your idea.

It is not being able to communicate what you would like through your work. Sometimes failure is necessary, it pushes you to find ways to solve a problem and

improve your life. The concept of resilience is very important, it’s the ability to soften a blow without being overwhelmed by the situation, and then getting back up stronger than before.

Today more than ever, what does honest design mean to you?

An honest design is one that is responsible and sustainable.

It does not only pursue the logic of the market, but is aimed at the evolution of society. It stands on the foundation of a strong professional ethic. I learned this from Albe Steiner when I was studying at Umanitaria, and ever since it has been the constant compass of all my work.

Good design is the intersection of an ethical content and a timeless form.

You must always find, as Paul Rand said, a balance between form and content. If you prefer the form, you get something beautiful but meaningless; if you prefer the content you get something significant, but boring. The right design lies in the balance of the two parts.

mission to save the world/planet, how would you go about doing it through your field?

If it were up to me, I would gather Putin, Trump, Xi Jinping, Queen Elizabeth and Angela Merkel for a workshop on peace and dialogue and I would make them draw a poster on peace. I would also invite the Pope to be part of it.

If that were not possible, I would continue to do just what I already do with my posters, trying to highlight the big unresolved problems in the world. A simple image, with its communicative and evocative power, can generate awareness of a problem in an incredible number of people, can awaken consciences and finally stir up change.

Uomo Moda for ICE New York, 1990

Your work pays your bills, but how do you stay excited about your chosen path?

I follow my inspirations, my emotions, almost like an artist.

I like to undertake projects with a strong cultural and social interest, which often connect great personalities of design to one another. As long as there is energy and passion, I do not think I will ever retire!

Armando Milani

Armando Milani

How would you define timeless design?

Timeless design is synthetic and functional. It does not follow fashions, no matter how it can be tied to a precise historical time or certain needs. A timeless design is always current and effective, even after fifty years.

From a packaging, to a tram ticket, from a label to a subway sign: everything can help make our life more pleasant, easier and practical.

But responsible design has above all a fundamental role also on a cultural and social level, inspiring a better life or denouncing the injustices of humanity. This is central to my production of posters.

Quoting Lissitzky: “you must first fascinate the eye and then strike the heart”; I would like my works to be remembered for their ability to draw attention through a simple, strong and immediate design, and to transmit profound messages that are worth meditating upon.

If we want to talk about “legacy”, it’s precisely this : an invitation to contribute positively to improving the quality of our life and society, through design, never remaining silent in the face of the injustices of the world. Whoso remains silent becomes an accomplice.

40

40 they are only fashions that are present today and will no longer be tomorrow. There’s a large number of works characterised by an unspecified number of images, colours and typefaces, often superimposed in the most unthinkable ways; I see longtexts, devoid of any real content.

Only a timeless design can always be current, even after decades.

Orspas Soccer Milan, 2017

It’s been one year since you came to Luxembourg, what have you been up to in the months since?

I have devoted all my time and effort to my next big project, an exhibition that will be launched just this fall: Ubuntu. The concept of the African word “Ubuntu” is wonderful: it means humanity, sharing, empathy, and tolerance.

We really need these important concepts today.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

I invite young designers, first of all, to study the history of graphic design: in order to know where we want to go, we need to understand where we came from. I also tell them to study the rules of good design, which are indispensable.

Only by knowing them, it is possible to break them to create a certain effect. As years go by, the ways of using design change, but the methods for creating good

design are always the same, they never change. The Vignelli Canon, in my opinion, is fundamental.

Today all the teachings of the greatest masters of design are readily accessible to anyone.

The computer, though it is an extraordinary tool, must not “think” in lieu of the designer.

Where do you look for magic these days?

There was a great friend of mine a graphic designer in New York, Gene Federico, who said he found his greatest inspirations walking down the street. I agree with him.

I think it’s really hard to find a solution just staying at home and thinking. You need to move.

That’s my secret. You need to pick up the images and emotions of everything around you, and then filter them through your culture, your sensitivity and your way of thinking.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the

What are the big trends you have observed in your particular field?

I’m not at all accustomed to following trends, precisely because

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

It’s much more important that people be inspired by good design in its entirety, regardless of who creates it. Good design accurately communicates an idea, is responsible, ethically correct, and timeless. It has the extraordinary ability to actively intervene in our everyday life and improve it.

The Steps of The Man’s Values (Ubuntu, 2018 version), 2010

Failure is failing to convince

a client of the validity of your idea.

It is not being able to communicate what you would like through your work. Sometimes failure is necessary, it pushes you to find ways to solve a problem and

improve your life. The concept of resilience is very important, it’s the ability to soften a blow without being overwhelmed by the situation, and then getting back up stronger than before.

Today more than ever, what does honest design mean to you?

An honest design is one that is responsible and sustainable.

It does not only pursue the logic of the market, but is aimed at the evolution of society. It stands on the foundation of a strong professional ethic. I learned this from Albe Steiner when I was studying at Umanitaria, and ever since it has been the constant compass of all my work.

Good design is the intersection of an ethical content and a timeless form.

You must always find, as Paul Rand said, a balance between form and content. If you prefer the form, you get something beautiful but meaningless; if you prefer the content you get something significant, but boring. The right design lies in the balance of the two parts.

mission to save the world/planet, how would you go about doing it through your field?

If it were up to me, I would gather Putin, Trump, Xi Jinping, Queen Elizabeth and Angela Merkel for a workshop on peace and dialogue and I would make them draw a poster on peace. I would also invite the Pope to be part of it.

If that were not possible, I would continue to do just what I already do with my posters, trying to highlight the big unresolved problems in the world. A simple image, with its communicative and evocative power, can generate awareness of a problem in an incredible number of people, can awaken consciences and finally stir up change.

Uomo Moda for ICE New York, 1990

Your work pays your bills, but how do you stay excited about your chosen path?

I follow my inspirations, my emotions, almost like an artist.

I like to undertake projects with a strong cultural and social interest, which often connect great personalities of design to one another. As long as there is energy and passion, I do not think I will ever retire!

Armando Milani

Armando Milani

How would you define timeless design?

Timeless design is synthetic and functional. It does not follow fashions, no matter how it can be tied to a precise historical time or certain needs. A timeless design is always current and effective, even after fifty years.

From a packaging, to a tram ticket, from a label to a subway sign: everything can help make our life more pleasant, easier and practical.

But responsible design has above all a fundamental role also on a cultural and social level, inspiring a better life or denouncing the injustices of humanity. This is central to my production of posters.

Quoting Lissitzky: “you must first fascinate the eye and then strike the heart”; I would like my works to be remembered for their ability to draw attention through a simple, strong and immediate design, and to transmit profound messages that are worth meditating upon.

If we want to talk about “legacy”, it’s precisely this : an invitation to contribute positively to improving the quality of our life and society, through design, never remaining silent in the face of the injustices of the world. Whoso remains silent becomes an accomplice.

Brosmind

Clash of Clans

Graphic Design Barcelona

“You want to have your own voice,but to get to your own voice you have to go through a process.�

Brosmind

Brosmind

The Mingarro brothers, Juan and Alejandro

39

Brosmind

Clash of Clans

Graphic Design Barcelona

“You want to have your own voice,but to get to your own voice you have to go through a process.�

Brosmind

Brosmind

The Mingarro brothers, Juan and Alejandro

39

39

It’s been a while since you’ve been in Luxembourg, what have you been up to in the time since?

We always get nervous with that question. We try to remember all the cool projects we have done but somehow the crappier ones come to mind first. It’s hard to remember everything. But in the time since the conference, one of the biggest projects we worked on was to design a bunch of characters for a World Mobile conference, it’s a huge event in Barcelona related to the mobile industry.

It was interesting being able to mix our fun characters with these serious topics, like how technology will be good for the environment…

Now, they are planning the same event in Shanghai, which is really cool for us. Often, we get really frustrated because we create so many characters but their life is short-lived, they are dead the minute a project is over, even though we try to “save” our favourite ones. So, in a project this big, it’s nice to see our characters live on.

They were complex characters because we had to create one for each of the sustainable development goals and how the mobile industry can help to reach those goals. It was a fun and unexpected project.

Apart from that we did many smaller scale projects but the one we are really excited about is our Taiwan exhibition. We did a project for a big mall in China, and that gave way to more artistic projects where we are given more freedom. The Taiwan project is for a gallery and it’s a retrospective of our work but we are also creating some new pieces. We are happy about this new adventure in Asia, because they seem to really love our characters and are giving us the freedom to create as artists.

In the States, for example, they mainly see us as illustrators for advertising, so it is a completely different approach.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current

depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your respective field?

In our work we try to bring this note of optimism. The world is really depressing, so we try to bring some happiness and enjoyment through our work. We love to make people happy and have them interact with some of our pieces.

Our characters always have different levels of complexity, with different meanings, with the small details, which are hidden here and there. It’s also great when people are able to come back to an illustration after some time and find something new. There’s always a story behind what we do, the real Easter egg is ourselves and the universe we have created as two brothers.

Gender Equality

Good design should solve the problem and surprise you.

But mostly because we see ourselves more as creators and less as designers, we just want the result to make us happy.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

You can catch people’s attention with the first impact, but there has to be more behind it. Otherwise, it’s not enough.

In our illustrations, there are always different levels of understanding.

Vinyle cover Gloriosa Rotonda

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

To inspire people is really important for us. We realised, when we became professionals, that there were a lot of things that we did not know from school. After some years we started giving conferences at design events and schools.

We thought that it was really

No Poverty Life on Land

important to tell students what we learned along the way.

When you finish school there are a lot of things that you cannot imagine. When you think about your idols, you think that they are unreachable. But when you are a professional then you realise that they are also normal people and that they do works that they are not famous for but still do because it brings in money.

So, you get the sense that if you work hard you can become like them. You break that boundary between artistic work and commercial work, and understand that both are necessary, and that there are logical steps you need to follow. People who see you on stage want to know what’s behind all of your work.

Some of them are for really small clients, but the project is awesome, and you think to yourself how can they live only doing this cool stuff all the time? Other times clients pay you better, but the project is not that great to show. Then you realise, that in big studios they do both kinds of work but are only known for their “impactful” work.

You have to be realistic. You want

to have your own voice, but to get to your own voice you have to go through a process.

The legacy we want to leave, more than the work itself, is this little push to inspire people to do better.

This idea that these two brothers, who loved to create things as kids, made it and were able to make a living doing the thing they love.

Ok, but what if a designer is then afraid to be “typecast” for a certain kind of work that maybe they are not particularly proud of but that pays the bills?

Well, you still have control over what you decide to show to people in your portfolio. You have to teach clients what to ask for and show them what you are capable of doing. You also need to learn to say no. You have to put the rules on the table. Use your spare time to do your own signature stuff.

Brosmind

Brosmind

39

Clean Water & Sanitation

Reduced Inequalities Sustainable Development Goal Characters for Mobile World Congress Barcelona

Failure is when things go wrong,

but it’s not the end of the world.

Failure comes with some important knowledge.

39

It’s been a while since you’ve been in Luxembourg, what have you been up to in the time since?

We always get nervous with that question. We try to remember all the cool projects we have done but somehow the crappier ones come to mind first. It’s hard to remember everything. But in the time since the conference, one of the biggest projects we worked on was to design a bunch of characters for a World Mobile conference, it’s a huge event in Barcelona related to the mobile industry.

It was interesting being able to mix our fun characters with these serious topics, like how technology will be good for the environment…

Now, they are planning the same event in Shanghai, which is really cool for us. Often, we get really frustrated because we create so many characters but their life is short-lived, they are dead the minute a project is over, even though we try to “save” our favourite ones. So, in a project this big, it’s nice to see our characters live on.

They were complex characters because we had to create one for each of the sustainable development goals and how the mobile industry can help to reach those goals. It was a fun and unexpected project.

Apart from that we did many smaller scale projects but the one we are really excited about is our Taiwan exhibition. We did a project for a big mall in China, and that gave way to more artistic projects where we are given more freedom. The Taiwan project is for a gallery and it’s a retrospective of our work but we are also creating some new pieces. We are happy about this new adventure in Asia, because they seem to really love our characters and are giving us the freedom to create as artists.

In the States, for example, they mainly see us as illustrators for advertising, so it is a completely different approach.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current

depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your respective field?

In our work we try to bring this note of optimism. The world is really depressing, so we try to bring some happiness and enjoyment through our work. We love to make people happy and have them interact with some of our pieces.

Our characters always have different levels of complexity, with different meanings, with the small details, which are hidden here and there. It’s also great when people are able to come back to an illustration after some time and find something new. There’s always a story behind what we do, the real Easter egg is ourselves and the universe we have created as two brothers.

Gender Equality

Good design should solve the problem and surprise you.

But mostly because we see ourselves more as creators and less as designers, we just want the result to make us happy.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

You can catch people’s attention with the first impact, but there has to be more behind it. Otherwise, it’s not enough.

In our illustrations, there are always different levels of understanding.

Vinyle cover Gloriosa Rotonda

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

To inspire people is really important for us. We realised, when we became professionals, that there were a lot of things that we did not know from school. After some years we started giving conferences at design events and schools.

We thought that it was really

No Poverty Life on Land

important to tell students what we learned along the way.

When you finish school there are a lot of things that you cannot imagine. When you think about your idols, you think that they are unreachable. But when you are a professional then you realise that they are also normal people and that they do works that they are not famous for but still do because it brings in money.

So, you get the sense that if you work hard you can become like them. You break that boundary between artistic work and commercial work, and understand that both are necessary, and that there are logical steps you need to follow. People who see you on stage want to know what’s behind all of your work.

Some of them are for really small clients, but the project is awesome, and you think to yourself how can they live only doing this cool stuff all the time? Other times clients pay you better, but the project is not that great to show. Then you realise, that in big studios they do both kinds of work but are only known for their “impactful” work.

You have to be realistic. You want

to have your own voice, but to get to your own voice you have to go through a process.

The legacy we want to leave, more than the work itself, is this little push to inspire people to do better.

This idea that these two brothers, who loved to create things as kids, made it and were able to make a living doing the thing they love.

Ok, but what if a designer is then afraid to be “typecast” for a certain kind of work that maybe they are not particularly proud of but that pays the bills?

Well, you still have control over what you decide to show to people in your portfolio. You have to teach clients what to ask for and show them what you are capable of doing. You also need to learn to say no. You have to put the rules on the table. Use your spare time to do your own signature stuff.

Brosmind

Brosmind

39

Clean Water & Sanitation

Reduced Inequalities Sustainable Development Goal Characters for Mobile World Congress Barcelona

Failure is when things go wrong,

but it’s not the end of the world.

Failure comes with some important knowledge.

38

Tim John & Martin Schmitz

Tim John & Martin Schmitz

Scenography Hamburg

“Believe in yourself. Don’t get distracted by what is trendy and let everything be a source of inspiration. Stay focused on what you are doing, be playful and ask yourself what would surprise and touch you.”

© diephotodesigner.de

Opel Autosalon, 2016

38

Tim John & Martin Schmitz

Tim John & Martin Schmitz

Scenography Hamburg

“Believe in yourself. Don’t get distracted by what is trendy and let everything be a source of inspiration. Stay focused on what you are doing, be playful and ask yourself what would surprise and touch you.”

© diephotodesigner.de

Opel Autosalon, 2016

38

38 It’s been a year since you’ve been in Luxembourg, what have you been up to in the months since?

We created another parade float for Lemonaid, for Wempe we created a customised trade-fair stand, and took time away with our families.

and if so why do you think that is?

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

We don’t think that designers are really underrepresented in our society and in need of more exposure, what is lacking is the promotion and appreciation of sensitive and thoughtful individuals in all fields, including design.

On the importance or relevance of storytelling: It’s very important.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

Believe in yourself. Don’t get distracted by what is trendy and let everything be a source of inspiration. Stay focused on what you are doing, be playful and ask yourself what would surprise and touch you.

Store opening of Hermès (Düsseldorf), 2015

Good design is the intersection of humour and storytelling.

How would you define timeless design?

When you don’t get sick of something, when it works perfectly and when it is built in a way that lasts.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

We think it is essential to challenge the viewer. But that can also mean that you overdo it and strain them.

That’s why humour plays an important role; it makes people more open and works without preconception.

Today more than ever, what does honest design mean to you?

Honest design can only come from honest people. What makes it even better, is when you realise that these people are humble, funny and charming.

Failure is good because you

can learn from it and improve.

Do you feel like in the past decade there has been an increased interest in design (in your field)

© Bijon de Kock

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

We are content to see people interact with our work, find joy in it and experience the charming sense of humour latent in it.

© Andreas Jung

Tim John Tim John & Martin Schmitz

What is your next big project?

We are working on an edutainment exhibition about the fairytale worlds of the brothers Grimm. It will become a permanent exhibition in Hamburg; the opening is planned for 2019.

Noilly Prat Fairy booth, 2010

Wempe Peking, 2014

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world, how would you go about doing it through your respective field?

(I don’t mean in a superhero kind of way — though why not if that is something you fantasise about — but rather a way to focus attention, or provoke, or bring about grand-scale change.)

We try to do that on a small scale in our work. Smiling over a nice moment, making people more receptive through humour, or an event that inspires them.

It’s just about creating a moment in time when you feel good, in that instant there is no need for superfluous luxury. The challenge is to try and make people more open, to awaken their awareness and kind-heartedness, so that they start looking at the most important things in life with a new perspective. It’s a lofty goal and we are only at the beginning but we are not giving up.

Tim John Tim John & Martin Schmitz

Which designer should we invite next?

Christoph Riemann, a brilliant illustrator.

What are the big trends you have observed in your particular field?

We don’t really look at what other people are doing, so we are not really able to answer this question. But it’s not that we are not interested, it’s just that we don’t find it inspiring and we don’t want to destroy our own dreams just because maybe someone else has already done something similar. You can find a 1000 amazing production examples on the Internet, it’s easy to let that intimidate you and you might stop dreaming. You should always continue to dream.

© Markus Heumann

When you gave your talk for Design Friends was that your first time in Luxembourg?

It was our first visit to Luxembourg and it was quite interesting to experience this bizarre mix between a banking quarter, old town and sleepy village.

We really enjoyed it and a walk under the sunshine allowed us to explore everything further.

Where do you look for magic these days?

Magic is everywhere and nowhere.

You have to learn to find it with open eyes and perceptiveness.

That’s when your field of vision begins to widen. We rarely look at other scenography because that’s not where we find inspiration.

We enjoy discovering new things in music, graphic design and images.

Your work pays your bills, but how do you stay excited about your chosen path?

We are able to do what we love and keep our childlike curiosity.

That brings us happiness!

38

38 It’s been a year since you’ve been in Luxembourg, what have you been up to in the months since?

We created another parade float for Lemonaid, for Wempe we created a customised trade-fair stand, and took time away with our families.

and if so why do you think that is?

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

We don’t think that designers are really underrepresented in our society and in need of more exposure, what is lacking is the promotion and appreciation of sensitive and thoughtful individuals in all fields, including design.

On the importance or relevance of storytelling: It’s very important.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

Believe in yourself. Don’t get distracted by what is trendy and let everything be a source of inspiration. Stay focused on what you are doing, be playful and ask yourself what would surprise and touch you.

Store opening of Hermès (Düsseldorf), 2015

Good design is the intersection of humour and storytelling.

How would you define timeless design?

When you don’t get sick of something, when it works perfectly and when it is built in a way that lasts.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

We think it is essential to challenge the viewer. But that can also mean that you overdo it and strain them.

That’s why humour plays an important role; it makes people more open and works without preconception.

Today more than ever, what does honest design mean to you?

Honest design can only come from honest people. What makes it even better, is when you realise that these people are humble, funny and charming.

Failure is good because you

can learn from it and improve.

Do you feel like in the past decade there has been an increased interest in design (in your field)

© Bijon de Kock

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

We are content to see people interact with our work, find joy in it and experience the charming sense of humour latent in it.

© Andreas Jung

Tim John Tim John & Martin Schmitz

What is your next big project?

We are working on an edutainment exhibition about the fairytale worlds of the brothers Grimm. It will become a permanent exhibition in Hamburg; the opening is planned for 2019.

Noilly Prat Fairy booth, 2010

Wempe Peking, 2014

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world, how would you go about doing it through your respective field?

(I don’t mean in a superhero kind of way — though why not if that is something you fantasise about — but rather a way to focus attention, or provoke, or bring about grand-scale change.)

We try to do that on a small scale in our work. Smiling over a nice moment, making people more receptive through humour, or an event that inspires them.

It’s just about creating a moment in time when you feel good, in that instant there is no need for superfluous luxury. The challenge is to try and make people more open, to awaken their awareness and kind-heartedness, so that they start looking at the most important things in life with a new perspective. It’s a lofty goal and we are only at the beginning but we are not giving up.

Tim John Tim John & Martin Schmitz

Which designer should we invite next?

Christoph Riemann, a brilliant illustrator.

What are the big trends you have observed in your particular field?

We don’t really look at what other people are doing, so we are not really able to answer this question. But it’s not that we are not interested, it’s just that we don’t find it inspiring and we don’t want to destroy our own dreams just because maybe someone else has already done something similar. You can find a 1000 amazing production examples on the Internet, it’s easy to let that intimidate you and you might stop dreaming. You should always continue to dream.

© Markus Heumann

When you gave your talk for Design Friends was that your first time in Luxembourg?

It was our first visit to Luxembourg and it was quite interesting to experience this bizarre mix between a banking quarter, old town and sleepy village.

We really enjoyed it and a walk under the sunshine allowed us to explore everything further.

Where do you look for magic these days?

Magic is everywhere and nowhere.

You have to learn to find it with open eyes and perceptiveness.

That’s when your field of vision begins to widen. We rarely look at other scenography because that’s not where we find inspiration.

We enjoy discovering new things in music, graphic design and images.

Your work pays your bills, but how do you stay excited about your chosen path?

We are able to do what we love and keep our childlike curiosity.

That brings us happiness!

37 Pe’l Schlechter

Pe’l Schlechter

“I want people to have the same feelings I had when I was creating one of my works.”

Poster for the Sécurité Routière, 1950-1970

Pe’l Schlechter

Graphic Design Luxembourg

37 Pe’l Schlechter

Pe’l Schlechter

“I want people to have the same feelings I had when I was creating one of my works.”

Poster for the Sécurité Routière, 1950-1970

Pe’l Schlechter

Graphic Design Luxembourg

37

37 Do you follow the work of younger generation of designers?

I do here and there but not very much. Mostly it is due to the fact that I don’t know them personally.

I often think back at the time when we all knew each other.

There’s a big difference.

Posters for Father’s and Mother’s Day, 1950-1965

So, there was a real camaraderie, but was there also competition?

Yes, but healthy. The whole thing, though, was in competition with the Cercle Artistique.

Incidentally, the architect who created the Société des Beaux-Arts

became my boss for 14 years at the Foire Internationale. I joined them as an in-house graphic designer after leaving an architecture firm where I had been working. I continued creating posters on the side.

How did you get into architecture?

I was always into drawing so one of my professors at school recommended that I attend a school where you learned craftsmanship.

There I learned the trade of becoming a construction engineer.

After the Second World War, after I was released from captivity, on the train, on the way back home I met some architects. At the time there were a lot of opportunities with architects because cities and buildings had to be rebuilt. I worked with architects for 17 years.

Each office was responsible for a specific sector. I didn’t choose to join the firm that paid the most, but the one that offered the most interesting projects. So, I landed where they were rebuilding all the churches in the country. I was still doing my graphic design work on the side. We had pretty free working hours, which allowed me to do both. I eventually had so many clients in graphic design that the owner of the architecture firm just put an office at my disposal and told me to bill the hours I worked on their projects, until it was time to leave and open my own office because I ended up doing just graphic design.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

I would tell them to not only rely on working on the computer, and experience working on things hands on. I would also recommend getting together with other artists and mutually inspire each other.

On the importance or relevance of storytelling: When I did my most important body of works, which are the posters, most of which I did for the Loterie Nationale, there were different factors that came into play. They made you take part in a competition and the idea was to create 12 posters, one for each month. So, if for one you made a character, you would try to do something different for the next one and do more graphic work.

Of course, the “story” behind it was always to show that you could win money. I don’t think I went much further than that, but I always wanted to create something that grabbed people’s attention.

How would you define honest design?

Today, it is much easier to make things than in the past and usually it is of better quality, precisely because of the technical advancements, but often I feel like something is missing.

Poster for the Loterie Nationale, 1965

Failure is creating something

and then recognising that it is not the best that it could be.

It’s not being satisfied.

So, do you mean to say that because of the amount of time and effort it took to create a piece of work, in the past, there was much more of a piece of you woven inside of it, because creating things through the computer feels less personal to you?

Yes, I would say so, because it doesn’t give me the same kind of satisfaction. I realise that the technical achievements are amazing, but sometimes I feel like artistic expression, humour and spontaneity are getting lost in the process.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

When I created something, I gave it my all. The female characters I created for my posters, I was in love with and it had to be like that.

So, I did these things with complete conviction and love. The best return

is, of course, when people look at your work and feel something, like they can relate to it, like it is nice and charming. No artist wants people to act indifferently to their work.

I want people to have the same feelings I had when I was creating one of my works.

How would you go about improving the world through your work?

I am a relentless optimist. I think it’s an essential quality to get through life. I have always tried to bring a touch of humour, optimism, and love into my work.

Which are your favourite works?

My favourite works are the one I did with the squirrel and the Native Indian girl. The squirrel poster has a lot of geometric forms that work well with the way I also drew the animal, the nuts and everything around it, and it is quite stylised. Most of all I love the optimistic expression.

Good design is the intersection of simplicity and recognition.

Simplicity, because you have to get rid of anything that is superfluous.

It also has to get stuck in people’s minds, so for that you need to ensure that it is readable and recognisable.

An example of bad design is that of the Foire Internationale, which is now called The Box. It’s so bad because you have to first read a whole story to be able to understand what it is. I made the original logo and then they asked me what I thought of the new one.

How would you define timeless design?

I would refer back to logos, because they have to stand the test of time.

Those that stand the test of time are the ones that are extremely simple and primitive.

(He grabs the Armando Milani catalogue) These here are all formidable and timeless. Refined but still simple.

(He points to the UOMO MODA logo) That one is great.

Pe’l Schlechter

Pe’l Schlechter

What do you remember from the time when you worked closely with your peers?

It was a really nice time. We were a group of people that included sculptors, architects, painters, graphic designers, and composers, anything that was related to the

arts… all of us knew each other.

We formed a club called Société des Beaux-Arts, we rented a space in a basement where we held exhibitions, conferences, masked balls and concerts. It was a space where later the Ciné Cité cinema came to be. We would meet up there every night and work together.

37

37 Do you follow the work of younger generation of designers?

I do here and there but not very much. Mostly it is due to the fact that I don’t know them personally.

I often think back at the time when we all knew each other.

There’s a big difference.

Posters for Father’s and Mother’s Day, 1950-1965

So, there was a real camaraderie, but was there also competition?

Yes, but healthy. The whole thing, though, was in competition with the Cercle Artistique.

Incidentally, the architect who created the Société des Beaux-Arts

became my boss for 14 years at the Foire Internationale. I joined them as an in-house graphic designer after leaving an architecture firm where I had been working. I continued creating posters on the side.

How did you get into architecture?

I was always into drawing so one of my professors at school recommended that I attend a school where you learned craftsmanship.

There I learned the trade of becoming a construction engineer.

After the Second World War, after I was released from captivity, on the train, on the way back home I met some architects. At the time there were a lot of opportunities with architects because cities and buildings had to be rebuilt. I worked with architects for 17 years.

Each office was responsible for a specific sector. I didn’t choose to join the firm that paid the most, but the one that offered the most interesting projects. So, I landed where they were rebuilding all the churches in the country. I was still doing my graphic design work on the side. We had pretty free working hours, which allowed me to do both. I eventually had so many clients in graphic design that the owner of the architecture firm just put an office at my disposal and told me to bill the hours I worked on their projects, until it was time to leave and open my own office because I ended up doing just graphic design.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

I would tell them to not only rely on working on the computer, and experience working on things hands on. I would also recommend getting together with other artists and mutually inspire each other.

On the importance or relevance of storytelling: When I did my most important body of works, which are the posters, most of which I did for the Loterie Nationale, there were different factors that came into play. They made you take part in a competition and the idea was to create 12 posters, one for each month. So, if for one you made a character, you would try to do something different for the next one and do more graphic work.

Of course, the “story” behind it was always to show that you could win money. I don’t think I went much further than that, but I always wanted to create something that grabbed people’s attention.

How would you define honest design?

Today, it is much easier to make things than in the past and usually it is of better quality, precisely because of the technical advancements, but often I feel like something is missing.

Poster for the Loterie Nationale, 1965

Failure is creating something

and then recognising that it is not the best that it could be.

It’s not being satisfied.

So, do you mean to say that because of the amount of time and effort it took to create a piece of work, in the past, there was much more of a piece of you woven inside of it, because creating things through the computer feels less personal to you?

Yes, I would say so, because it doesn’t give me the same kind of satisfaction. I realise that the technical achievements are amazing, but sometimes I feel like artistic expression, humour and spontaneity are getting lost in the process.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

When I created something, I gave it my all. The female characters I created for my posters, I was in love with and it had to be like that.

So, I did these things with complete conviction and love. The best return

is, of course, when people look at your work and feel something, like they can relate to it, like it is nice and charming. No artist wants people to act indifferently to their work.

I want people to have the same feelings I had when I was creating one of my works.

How would you go about improving the world through your work?

I am a relentless optimist. I think it’s an essential quality to get through life. I have always tried to bring a touch of humour, optimism, and love into my work.

Which are your favourite works?

My favourite works are the one I did with the squirrel and the Native Indian girl. The squirrel poster has a lot of geometric forms that work well with the way I also drew the animal, the nuts and everything around it, and it is quite stylised. Most of all I love the optimistic expression.

Good design is the intersection of simplicity and recognition.

Simplicity, because you have to get rid of anything that is superfluous.

It also has to get stuck in people’s minds, so for that you need to ensure that it is readable and recognisable.

An example of bad design is that of the Foire Internationale, which is now called The Box. It’s so bad because you have to first read a whole story to be able to understand what it is. I made the original logo and then they asked me what I thought of the new one.

How would you define timeless design?

I would refer back to logos, because they have to stand the test of time.

Those that stand the test of time are the ones that are extremely simple and primitive.

(He grabs the Armando Milani catalogue) These here are all formidable and timeless. Refined but still simple.

(He points to the UOMO MODA logo) That one is great.

Pe’l Schlechter

Pe’l Schlechter

What do you remember from the time when you worked closely with your peers?

It was a really nice time. We were a group of people that included sculptors, architects, painters, graphic designers, and composers, anything that was related to the

arts… all of us knew each other.

We formed a club called Société des Beaux-Arts, we rented a space in a basement where we held exhibitions, conferences, masked balls and concerts. It was a space where later the Ciné Cité cinema came to be. We would meet up there every night and work together.

© Action & Service

36

Jean-Paul Lespagnard

Fashion Design Brussels

© Laetitia Bica

Exhibition Jean-Paul Lespagnard (Musée Mode & Dentelle)

Jean-Paul Lespagnard

“I always seek to challenge myself when I create something so invariably I am also somehow challenging my audience.”

© Action & Service

36

Jean-Paul Lespagnard

Fashion Design Brussels

© Laetitia Bica

Exhibition Jean-Paul Lespagnard (Musée Mode & Dentelle)

Jean-Paul Lespagnard

“I always seek to challenge myself when I create something so invariably I am also somehow challenging my audience.”

36

36

Jean-Paul Lespagnard

parallel concept that something extraordinary for someone can be ordinary for someone else. I will be working with artisans that I have met during my travels all over the world and create something that reflects my Belgian sensibility.

Other than that I have been working quite a bit in the world of dance and theatre, creating costumes. I worked with Meg Stuart, Damien Jalet and then did another project with Chocolat Galler, so I have been quite busy.

Now that you have also started creating home objects has your approach changed?

No, it just means that I have expanded what I take in.

Do you ever think about how you would like people to perceive your work?

I have thought about it. When I created my collection for the Hyères Fashion festival, with the girl and her French fries joint, it was a reflection of my experiences.

Some people got it, others thought it was just a big joke. Mostly though, I would like for people to associate my work with being open-minded.

It’s when there is no connection between the designer and the audience. But failure can also certainly be a way to evolve.

Maybe something you imagined doesn’t work out but it makes you change course and reach other heights.

Going back to the collection you presented at Hyères, let’s talk about the importance of storytelling in your work.

I usually refer to a narrative that is born in the past or out of a culture.

My collection that refers to Dutch fishermen wives, was a nod to these women who would go pick up their husbands at the port after

Failure is lack of communication.

What is timeless design to you?

My designs don’t follow any trends, so my clients assimilate the pieces they buy into their wardrobe and go back to them over and over again.

Your work pays your bills, but how do you stay excited about your chosen path?

It’s something that is innate for me.

At the same time I can also say that things have changed and evolved since I started, from one season to the next, things change. I am also expanding my creative world.

Costumes for All Together Now

© Wolfgang Silveri

What have you been up to in the months since you were in Luxembourg?

Quite a few things. I had decided to take a break from creating collections about a year and a half ago, and I am now ready to start again. I have also been working on creating a boutique in the centre of Brussels where I will sell my collections, clothes and accessories. The added twist is that I will also be creating and selling objects for the home.

There will also be some souvenir items since we will be smack in the middle of Brussels in the tourist area. The shop will be called EXTRA-ORDINAIRE. The idea is to work with this

What kind of advice would you give to young designers starting out? What would you have liked to know when you embarked on your journey?

Again, I would stress the importance of being open to other cultures and not focusing solely on the culture of where you are from.

We are fortunate enough to be able to travel within reasonable means and experience different countries. Belgium is no longer a 100% Belgian, other cultures have influenced and integrated the culture which gives it more strength. Even if politicians will have you think otherwise.

I think as designers we can also demonstrate the beauty and advantages that lay inherent in diversity through our creations.

they would come back from fishing.

The idea was also to celebrate the day-to-day and finding something that you can relate to.

Jean-Paul Lespagnard

When I was only creating clothes, I spent a lot of time studying the way cultures created these things in different countries, and now I also observe their craftsmanship in terms of making objects, which I really enjoy.

I strongly believe that it’s important to mix cultures, to be open to learn from other cultures, and benefit from their know-how and incorporate it into the way we do things. Now, for example I am in Mexico for a dance project but I am taking advantage of my time here to visit glass artisans in Guadalajara.

Is it important for you to challenge your audience?

Well, in the first instance I always seek to challenge myself when I create something so invariably I am also somehow challenging my audience.

36

36

Jean-Paul Lespagnard

parallel concept that something extraordinary for someone can be ordinary for someone else. I will be working with artisans that I have met during my travels all over the world and create something that reflects my Belgian sensibility.

Other than that I have been working quite a bit in the world of dance and theatre, creating costumes. I worked with Meg Stuart, Damien Jalet and then did another project with Chocolat Galler, so I have been quite busy.

Now that you have also started creating home objects has your approach changed?

No, it just means that I have expanded what I take in.

Do you ever think about how you would like people to perceive your work?

I have thought about it. When I created my collection for the Hyères Fashion festival, with the girl and her French fries joint, it was a reflection of my experiences.

Some people got it, others thought it was just a big joke. Mostly though, I would like for people to associate my work with being open-minded.

It’s when there is no connection between the designer and the audience. But failure can also certainly be a way to evolve.

Maybe something you imagined doesn’t work out but it makes you change course and reach other heights.

Going back to the collection you presented at Hyères, let’s talk about the importance of storytelling in your work.

I usually refer to a narrative that is born in the past or out of a culture.

My collection that refers to Dutch fishermen wives, was a nod to these women who would go pick up their husbands at the port after

Failure is lack of communication.

What is timeless design to you?

My designs don’t follow any trends, so my clients assimilate the pieces they buy into their wardrobe and go back to them over and over again.

Your work pays your bills, but how do you stay excited about your chosen path?

It’s something that is innate for me.

At the same time I can also say that things have changed and evolved since I started, from one season to the next, things change. I am also expanding my creative world.

Costumes for All Together Now

© Wolfgang Silveri

What have you been up to in the months since you were in Luxembourg?

Quite a few things. I had decided to take a break from creating collections about a year and a half ago, and I am now ready to start again. I have also been working on creating a boutique in the centre of Brussels where I will sell my collections, clothes and accessories. The added twist is that I will also be creating and selling objects for the home.

There will also be some souvenir items since we will be smack in the middle of Brussels in the tourist area. The shop will be called EXTRA-ORDINAIRE. The idea is to work with this

What kind of advice would you give to young designers starting out? What would you have liked to know when you embarked on your journey?

Again, I would stress the importance of being open to other cultures and not focusing solely on the culture of where you are from.

We are fortunate enough to be able to travel within reasonable means and experience different countries. Belgium is no longer a 100% Belgian, other cultures have influenced and integrated the culture which gives it more strength. Even if politicians will have you think otherwise.

I think as designers we can also demonstrate the beauty and advantages that lay inherent in diversity through our creations.

they would come back from fishing.

The idea was also to celebrate the day-to-day and finding something that you can relate to.

Jean-Paul Lespagnard

When I was only creating clothes, I spent a lot of time studying the way cultures created these things in different countries, and now I also observe their craftsmanship in terms of making objects, which I really enjoy.

I strongly believe that it’s important to mix cultures, to be open to learn from other cultures, and benefit from their know-how and incorporate it into the way we do things. Now, for example I am in Mexico for a dance project but I am taking advantage of my time here to visit glass artisans in Guadalajara.

Is it important for you to challenge your audience?

Well, in the first instance I always seek to challenge myself when I create something so invariably I am also somehow challenging my audience.

35

Kiki Van Eijk

Product Design Eindhoven

Kiki Van Eijk

“Design can do a lot, maybe not right away, but through time, over a decade or into a new century, slowly but surely it can change things.”

Softwear (Rossana Orlandi, Milan, curated by Lidewij Edelkoort), 2018

This Google design studio installation brings to life the sensorial experience of hardware at Milan’s Salone Del Mobile.

35

Kiki Van Eijk

Product Design Eindhoven

Kiki Van Eijk

“Design can do a lot, maybe not right away, but through time, over a decade or into a new century, slowly but surely it can change things.”

Softwear (Rossana Orlandi, Milan, curated by Lidewij Edelkoort), 2018

This Google design studio installation brings to life the sensorial experience of hardware at Milan’s Salone Del Mobile.

perhaps have considered to be normal but which revive the inner child you have. I don’t use the things I see literally, but it gives you a different perspective.

What’s the best way to challenge viewer’s perception and is that always a good thing?

I don’t believe that your designs should teach other people. The only way is to make them feel inspired.

It always depends on the person whether or not that will change something.

What tips would you give aspiring designers seeking a start in your field? And what would you have liked to know?

Sometimes it’s better not to know anything. It was a long and tough path to get where I am now, but you just have to work very hard for it, to make things happen. You have to be proactive and self-initiating.

Starting your own company is not the highest aim in your career or in life. I think you can be as “valuable” working in a team of designers.

Failure doesn’t exist in my life...

I don’t consider anything as a failure.

Things are just part of a process whether it is in your designs or in your own life.

Carnival Rug for Nodus, 2018

What is your next big project?

There are quite a lot of things going on. I am designing this textile collection for a Dutch brand called Return to Sender. It’s like a social project. It’s set up to help women and kids in Third World countries to give them a good income, and enable them to send their kids to school. The idea is that you always get inspired by the local craft and culture. I work with a few companies from Bangladesh and it is all completely fair-trade.

I am designing some house ware things, like dish towels, aprons, rugs and wall hangings, working with traditional techniques in a more contemporary way.

It’s very challenging and also very satisfying.

to inspire people. As a creative person you always think that it is something that is very natural and normal to be creative. Inspiration is also the key to changing things.

That’s the only way, really.

Talking about legacy, I hope that people will say that I am a free spirit and that my work is genuine, that I don’t follow trends and that I am just an individual. Nature has so much diversity and so many different species and they are all there for a reason. They all have their role to play as part of a whole and it’s exactly the same for human beings.

How would you define timeless design?

It’s one that doesn’t follow trends.

Good design is the intersection of an original idea and a beautiful aesthetic.

How important is it for you to inspire people? How would you like people to remember your work and what sort of legacy do you want to leave?

I think it is very important

What does honest design mean to you?

Firstly, it means staying true to yourself. You design because you feel an urge to, and this urge is not money.

How do you manage to stay excited about your chosen path?

By always following my gut feelings and my intuition.

So, it is more primal…

Yes, it can be in the broadest sense of the word. I think the most important thing is to have individuality and that gives inspiration, and from that good things will come. Design can do a lot, maybe not right away, but through time, over a decade or into a new century, slowly but surely it can change things.

If you had to save the planet through design how would you do it?

My ideal situation would be that everything becomes energy neutral, the way we drive our car, the houses, electricity, etc. I think it is very well possible, but it will take some time, until then we just have to act smartly.

Is storytelling important to you?

My work is full of storytelling.

Each project I do, consists of a story I want to tell. Sometimes it is more light and sometimes it is more heavy, depending on the project.

Where do you look for magic these days?

Most of the magic happens with my kids. It makes you look at things differently, things you might

© Laila Pozzo

It’s been 2 years since you have been in Luxembourg, what have you been working on in the time since?

When I came, I was pregnant with my second son, so my focus shifted on him after the birth. The studio work, of course, went on and we continued working on our ongoing projects. Around the time my baby was born Salone del Mobile was going on in Milan where I had several exhibitions but wasn’t present. I went back to work in July of 2017 and we took on new projects, mainly focusing on Dutch design week which is always at the end of October. I launched a new work there. For Design week I did an exhibition with my husband Joost, and I also shared a workshop with him. We did an exhibition called The Tinkering Labs, about tinkering, which is the basis of both of our works. After that, it was already time to start working on things to present in Milan (this year).

I had quite a few projects that I presented, one was Shadows of Gold which was a project for Doppia Firma, it’s organised by the LivingCorriere (the magazine attached to Corriere della Sera), they invite ten or twelve international designers to work with a specific craft and this time they chose to work with the Venetian craft, each designer doing something different. I was to work with gold leaf, so I made a still life of marble pieces, which was related to a research I did on how objects catch sunlight. Both gold and sunlight have a mystical power.

Then I did a big project for Google curated by Li Edelkoort. I made seven different wall hangings with still-lives, where the new Google tech project, that they launched, were integrated completely to the point where you almost couldn’t see them. The wall hangings were very soft both to the touch and visually. It was meant to show the soft side of tech and to show how you can also live in balance with tech products instead of letting them rule your life.

35

Kiki Van Eijk

Kiki Van Eijk

35

Shadows of Gold for Doppia Firma

perhaps have considered to be normal but which revive the inner child you have. I don’t use the things I see literally, but it gives you a different perspective.

What’s the best way to challenge viewer’s perception and is that always a good thing?

I don’t believe that your designs should teach other people. The only way is to make them feel inspired.

It always depends on the person whether or not that will change something.

What tips would you give aspiring designers seeking a start in your field? And what would you have liked to know?

Sometimes it’s better not to know anything. It was a long and tough path to get where I am now, but you just have to work very hard for it, to make things happen. You have to be proactive and self-initiating.

Starting your own company is not the highest aim in your career or in life. I think you can be as “valuable” working in a team of designers.

Failure doesn’t exist in my life...

I don’t consider anything as a failure.

Things are just part of a process whether it is in your designs or in your own life.

Carnival Rug for Nodus, 2018

What is your next big project?

There are quite a lot of things going on. I am designing this textile collection for a Dutch brand called Return to Sender. It’s like a social project. It’s set up to help women and kids in Third World countries to give them a good income, and enable them to send their kids to school. The idea is that you always get inspired by the local craft and culture. I work with a few companies from Bangladesh and it is all completely fair-trade.

I am designing some house ware things, like dish towels, aprons, rugs and wall hangings, working with traditional techniques in a more contemporary way.

It’s very challenging and also very satisfying.

to inspire people. As a creative person you always think that it is something that is very natural and normal to be creative. Inspiration is also the key to changing things.

That’s the only way, really.

Talking about legacy, I hope that people will say that I am a free spirit and that my work is genuine, that I don’t follow trends and that I am just an individual. Nature has so much diversity and so many different species and they are all there for a reason. They all have their role to play as part of a whole and it’s exactly the same for human beings.

How would you define timeless design?

It’s one that doesn’t follow trends.

Good design is the intersection of an original idea and a beautiful aesthetic.

How important is it for you to inspire people? How would you like people to remember your work and what sort of legacy do you want to leave?

I think it is very important

What does honest design mean to you?

Firstly, it means staying true to yourself. You design because you feel an urge to, and this urge is not money.

How do you manage to stay excited about your chosen path?

By always following my gut feelings and my intuition.

So, it is more primal…

Yes, it can be in the broadest sense of the word. I think the most important thing is to have individuality and that gives inspiration, and from that good things will come. Design can do a lot, maybe not right away, but through time, over a decade or into a new century, slowly but surely it can change things.

If you had to save the planet through design how would you do it?

My ideal situation would be that everything becomes energy neutral, the way we drive our car, the houses, electricity, etc. I think it is very well possible, but it will take some time, until then we just have to act smartly.

Is storytelling important to you?

My work is full of storytelling.

Each project I do, consists of a story I want to tell. Sometimes it is more light and sometimes it is more heavy, depending on the project.

Where do you look for magic these days?

Most of the magic happens with my kids. It makes you look at things differently, things you might

© Laila Pozzo

It’s been 2 years since you have been in Luxembourg, what have you been working on in the time since?

When I came, I was pregnant with my second son, so my focus shifted on him after the birth. The studio work, of course, went on and we continued working on our ongoing projects. Around the time my baby was born Salone del Mobile was going on in Milan where I had several exhibitions but wasn’t present. I went back to work in July of 2017 and we took on new projects, mainly focusing on Dutch design week which is always at the end of October. I launched a new work there. For Design week I did an exhibition with my husband Joost, and I also shared a workshop with him. We did an exhibition called The Tinkering Labs, about tinkering, which is the basis of both of our works. After that, it was already time to start working on things to present in Milan (this year).

I had quite a few projects that I presented, one was Shadows of Gold which was a project for Doppia Firma, it’s organised by the LivingCorriere (the magazine attached to Corriere della Sera), they invite ten or twelve international designers to work with a specific craft and this time they chose to work with the Venetian craft, each designer doing something different. I was to work with gold leaf, so I made a still life of marble pieces, which was related to a research I did on how objects catch sunlight. Both gold and sunlight have a mystical power.

Then I did a big project for Google curated by Li Edelkoort. I made seven different wall hangings with still-lives, where the new Google tech project, that they launched, were integrated completely to the point where you almost couldn’t see them. The wall hangings were very soft both to the touch and visually. It was meant to show the soft side of tech and to show how you can also live in balance with tech products instead of letting them rule your life.

35

Kiki Van Eijk

Kiki Van Eijk

35

Shadows of Gold for Doppia Firma

Mr Bingo Illustration London

“Fuck.”

Mr Bingo

Mr Bingo

34

Mr Bingo Illustration London

“Fuck.”

Mr Bingo

Mr Bingo

34

Romain Urhausen on the Rocking chair that he realised for Tecta, 1974

Romain Urhausen

Product Design Luxembourg

“I think any designer’s legacy should be leaving behind things that improve the quality of life.”

Interior design of an apartment (Cologne), 1970

Romain Urhausen

Romain Urhausen

33

Romain Urhausen on the Rocking chair that he realised for Tecta, 1974

Romain Urhausen

Product Design Luxembourg

“I think any designer’s legacy should be leaving behind things that improve the quality of life.”

Interior design of an apartment (Cologne), 1970

Romain Urhausen

Romain Urhausen

33

33

33 the stables to the outside, where you could swim through a hole to access the outside.

the design process. Of course, there are really good designers that think about that.

Looking back, which of these vocations was closest to your heart? Which do you wish you had had the opportunity to explore further?

That’s a difficult question to answer, because every creation that you are involved in takes the utmost importance in that moment.

Overall, you look back and have an affinity for one or the other object.

It all started with photography, I did that over twenty years time, so it had a lot of importance then.

Then I created a photography department at the Dortmund art school, after I had won an International competition.

Financially it was completely uninteresting but I liked the project.

How would you describe your aesthetic when creating objects?

It was always important for me to not only do something that looked good but that really brought improvements for the end user in terms of ease of use, time efficiency, simplicity, and ease of understanding — to the point where you could do without an instruction manual. Of course, it should also look really nice.

How important was storytelling to you, in your work whether through photography or when creating objects and spaces?

Of course, it was important.

It was relevant in the space itself and in curating the elements within the space.

How would you define timeless design?

Timeless design is good design that stands the test of time, though nothing is permanent.

Furniture module of a wall block and a round double bed, 1974

Television-object in colour, around 1972

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

I would’ve liked to know many things. Going back to the idea of recycling, that was not even a concept when I was starting out.

But now anyone who is starting out should ask the question: What will happen after? Designers should create things responsibly.

They need to find out if they are able to eventually destroy, or reuse the materials that they use for the production of whatever design they come up with.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I think any designer’s legacy should be leaving behind things that improve the quality of life.

What are your thoughts on new design?

My impression is that often the primary goal is to make a lot of money and the design behind it doesn’t make much sense. There is a lot of waste, which of course has become a real problem today, with all the plastic that ends up in the oceans and beaches. Any new designer should really think about the end of life of the product and how recycling should play a part.

I find that is often neglected in

Is there one of your works that you are particularly proud of?

It changes. In the beginning it was photography. Then came design.

Then came architecture. Something I really enjoyed working on was the photography book I made on the Paris Halles. I was really immersed in it and I was 21 at the time.

It was difficult to produce because often I would block traffic to get my pictures done. I did it as a sort of documentary of the time. At the end of the book I even incorporated butcher paper, which was difficult for my publisher to accept.

Romain Urhausen

How would you define honest design?

Honest design for me is one that considers the entire life cycle of a product, that is simple both in its essence and for the user.

Honest design tries to avoid elements that are highly polluting and design, as a concept, should be incorporated from the start of the production cycle.

Romain Urhausen

You have received a lot of recognition for your photographic work, however your life’s work spans from photography to jewellery design, graphic design, industrial and furniture design, interior design and scenography.

Photography was the first phase, all the rest followed. I also did a lot of architectural design in Germany and then in the south of France, where I was active for 15 years and had a studio. We transformed old houses while respecting their environment often within the context of an old village.

It was a modern interpretation of the old pre-existing structures, keeping their old character. It was an interesting change from being in big German cities. We did a 1200 m2 vacation house project for Chloé. It had interesting features like a pool, which extended from

33

33 the stables to the outside, where you could swim through a hole to access the outside.

the design process. Of course, there are really good designers that think about that.

Looking back, which of these vocations was closest to your heart? Which do you wish you had had the opportunity to explore further?

That’s a difficult question to answer, because every creation that you are involved in takes the utmost importance in that moment.

Overall, you look back and have an affinity for one or the other object.

It all started with photography, I did that over twenty years time, so it had a lot of importance then.

Then I created a photography department at the Dortmund art school, after I had won an International competition.

Financially it was completely uninteresting but I liked the project.

How would you describe your aesthetic when creating objects?

It was always important for me to not only do something that looked good but that really brought improvements for the end user in terms of ease of use, time efficiency, simplicity, and ease of understanding — to the point where you could do without an instruction manual. Of course, it should also look really nice.

How important was storytelling to you, in your work whether through photography or when creating objects and spaces?

Of course, it was important.

It was relevant in the space itself and in curating the elements within the space.

How would you define timeless design?

Timeless design is good design that stands the test of time, though nothing is permanent.

Furniture module of a wall block and a round double bed, 1974

Television-object in colour, around 1972

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

I would’ve liked to know many things. Going back to the idea of recycling, that was not even a concept when I was starting out.

But now anyone who is starting out should ask the question: What will happen after? Designers should create things responsibly.

They need to find out if they are able to eventually destroy, or reuse the materials that they use for the production of whatever design they come up with.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I think any designer’s legacy should be leaving behind things that improve the quality of life.

What are your thoughts on new design?

My impression is that often the primary goal is to make a lot of money and the design behind it doesn’t make much sense. There is a lot of waste, which of course has become a real problem today, with all the plastic that ends up in the oceans and beaches. Any new designer should really think about the end of life of the product and how recycling should play a part.

I find that is often neglected in

Is there one of your works that you are particularly proud of?

It changes. In the beginning it was photography. Then came design.

Then came architecture. Something I really enjoyed working on was the photography book I made on the Paris Halles. I was really immersed in it and I was 21 at the time.

It was difficult to produce because often I would block traffic to get my pictures done. I did it as a sort of documentary of the time. At the end of the book I even incorporated butcher paper, which was difficult for my publisher to accept.

Romain Urhausen

How would you define honest design?

Honest design for me is one that considers the entire life cycle of a product, that is simple both in its essence and for the user.

Honest design tries to avoid elements that are highly polluting and design, as a concept, should be incorporated from the start of the production cycle.

Romain Urhausen

You have received a lot of recognition for your photographic work, however your life’s work spans from photography to jewellery design, graphic design, industrial and furniture design, interior design and scenography.

Photography was the first phase, all the rest followed. I also did a lot of architectural design in Germany and then in the south of France, where I was active for 15 years and had a studio. We transformed old houses while respecting their environment often within the context of an old village.

It was a modern interpretation of the old pre-existing structures, keeping their old character. It was an interesting change from being in big German cities. We did a 1200 m2 vacation house project for Chloé. It had interesting features like a pool, which extended from

32 Ruedi Baur

Ruedi Baur

Ruedi Baur

Graphic Design Paris • Zurich

“We have to move from a design philosophy, which is based on competition to one that is based on relationships, solidarity and interconnectedness.”

© Integral Ruedi Baur Paris

© Sayf

Orientation system of Station F (Paris), 2016-2017

32 Ruedi Baur

Ruedi Baur

Ruedi Baur

Graphic Design Paris • Zurich

“We have to move from a design philosophy, which is based on competition to one that is based on relationships, solidarity and interconnectedness.”

© Integral Ruedi Baur Paris

© Sayf

Orientation system of Station F (Paris), 2016-2017

32 world and progressively manage to impose their own approach.

They might make mistakes, and their patience will be tested but they have already been through a lot considering their age and their silent resistance is great.

How can we claim to be in a position to give them any kind of advice with the kind of world we are leaving behind?

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your respective field? (I don’t mean in a superhero kind of way (though why not if that

Failure is “Failed, failed again,

failed better.”

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I don’t think I really care about inspiring people; I just want

them to question things. I want them to reflect on the state of the world. I don’t want them to become victimised by inhumane ideologies, by deceptive promises, and mind numbing discourses.

My work honestly confronts different contexts and tries to demonstrate that little visual and conceptual alternatives are possible.

Sometimes merely by suggesting a different attitude to creation, more serene and respectful methods.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

I think a lot of young people have a good understanding of the state of the world. I admire their resilience in the face of all this brutality that emanates from the powers that be.

They are discretely building another

at the centre of two movements, one that is manifested through resistance to real change, which is fashioned by marketing or advertising ideology, and another that is born out of a relatively honest fight for innovation. The value of good design can be measured by analysing its transformation and its contribution to individuals and the planet (indirectly). Everything else stems from this reality.

Ruedi Baur

Visual language Manifesta 11 (Zurich), 2016

Today more than ever, what does honest design mean to you?

Design has to, more than ever, be based on questioning, on critique, on distant observation, on humanity, on poetry, on that which we do not master,on experimentation, and a real desire for transformation, on respecting citizens, on the beautiful, on accepting complexities and our interdependence, on the desire to create a better world, on caring about injustice, on fighting selfishness, on getting out of opportunistic systems, on gossip and other strategies that emanate from the entertainment industry…

is something you fantasise about) but rather a way to focus attention, or provoke, or bring about grand-scale change.)

I am not a philosopher but a designer, which means that what I am interested in is trying to transform a phenomenon after I have grasped it. Design is

Information system for travellers for the Réseau de Transport Public du Grand Paris

Information system for travellers for the Réseau de Transport Public du Grand Paris

Grand Paris bold

Grand Paris light

Caractères spéciaux: chiffres et lettres (petites capitales) hauteur minuscules

Chiffres hauteur capitales

© Integral Ruedi Baur Paris

Since you came to Luxembourg, what have you been up to?

We continued working on some ongoing projects. We had already started on Grand Paris Express where we are currently in a more concrete stage. New projects include also the toponymy of the Orly airport, an urban stage design project for the University of Göttingen (a competition we won in Germany), and the graphic design for the new season of 104, which is another competition we won.

But the biggest transformation is the creation of a new structure where research and application meet, titled Dix milliards d’humains (ten billion human beings). Within this framework we would like to look at our future and that of our children without burying our head in the sand.

The world population will increase by a quarter in four decades though as of today we largely exceed the levels of CO2 that our planet can sustain.This reality requires major transformations, which need to be imagined, tested, adjusted and understood. A new attitude of conception, a new mindset seams necessary: we have to move from a design philosophy, which is based on competition to one that is based on relationships, solidarity and interconnectedness. This is what I have been up to since the conference.

This quote by Samuel Becket is one of my favourites. Fear of making mistakes is so great in our society that our capacity for experimentation is fading to naught.

We have all become sad and rigid as a result. The only thing you should try to avoid is that your mistakes harm others. © Integral Ruedi Baur Paris

Ruedi Baur

32

32 world and progressively manage to impose their own approach.

They might make mistakes, and their patience will be tested but they have already been through a lot considering their age and their silent resistance is great.

How can we claim to be in a position to give them any kind of advice with the kind of world we are leaving behind?

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your respective field? (I don’t mean in a superhero kind of way (though why not if that

Failure is “Failed, failed again,

failed better.”

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I don’t think I really care about inspiring people; I just want

them to question things. I want them to reflect on the state of the world. I don’t want them to become victimised by inhumane ideologies, by deceptive promises, and mind numbing discourses.

My work honestly confronts different contexts and tries to demonstrate that little visual and conceptual alternatives are possible.

Sometimes merely by suggesting a different attitude to creation, more serene and respectful methods.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

I think a lot of young people have a good understanding of the state of the world. I admire their resilience in the face of all this brutality that emanates from the powers that be.

They are discretely building another

at the centre of two movements, one that is manifested through resistance to real change, which is fashioned by marketing or advertising ideology, and another that is born out of a relatively honest fight for innovation. The value of good design can be measured by analysing its transformation and its contribution to individuals and the planet (indirectly). Everything else stems from this reality.

Ruedi Baur

Visual language Manifesta 11 (Zurich), 2016

Today more than ever, what does honest design mean to you?

Design has to, more than ever, be based on questioning, on critique, on distant observation, on humanity, on poetry, on that which we do not master,on experimentation, and a real desire for transformation, on respecting citizens, on the beautiful, on accepting complexities and our interdependence, on the desire to create a better world, on caring about injustice, on fighting selfishness, on getting out of opportunistic systems, on gossip and other strategies that emanate from the entertainment industry…

is something you fantasise about) but rather a way to focus attention, or provoke, or bring about grand-scale change.)

I am not a philosopher but a designer, which means that what I am interested in is trying to transform a phenomenon after I have grasped it. Design is

Information system for travellers for the Réseau de Transport Public du Grand Paris

Information system for travellers for the Réseau de Transport Public du Grand Paris

Grand Paris bold

Grand Paris light

Caractères spéciaux: chiffres et lettres (petites capitales) hauteur minuscules

Chiffres hauteur capitales

© Integral Ruedi Baur Paris

Since you came to Luxembourg, what have you been up to?

We continued working on some ongoing projects. We had already started on Grand Paris Express where we are currently in a more concrete stage. New projects include also the toponymy of the Orly airport, an urban stage design project for the University of Göttingen (a competition we won in Germany), and the graphic design for the new season of 104, which is another competition we won.

But the biggest transformation is the creation of a new structure where research and application meet, titled Dix milliards d’humains (ten billion human beings). Within this framework we would like to look at our future and that of our children without burying our head in the sand.

The world population will increase by a quarter in four decades though as of today we largely exceed the levels of CO2 that our planet can sustain.This reality requires major transformations, which need to be imagined, tested, adjusted and understood. A new attitude of conception, a new mindset seams necessary: we have to move from a design philosophy, which is based on competition to one that is based on relationships, solidarity and interconnectedness. This is what I have been up to since the conference.

This quote by Samuel Becket is one of my favourites. Fear of making mistakes is so great in our society that our capacity for experimentation is fading to naught.

We have all become sad and rigid as a result. The only thing you should try to avoid is that your mistakes harm others. © Integral Ruedi Baur Paris

Ruedi Baur

32

La Fille d’O

La Fille d’O

31 La Fille d’O

“My business is about perfecting the art of making good things better.”

Fastgirls Bra

© aultreneveulxestre (a.k.a Murielle Victorine Scherre)

Fashion Design Ghent

La Fille d’O

La Fille d’O

31 La Fille d’O

“My business is about perfecting the art of making good things better.”

Fastgirls Bra

© aultreneveulxestre (a.k.a Murielle Victorine Scherre)

Fashion Design Ghent

31

Which designer should we invite next?

Architecture firm De Vylder Vinck Taillieu Milk and Cookies, Belgium.

be doing. When I die I will have new things to think about, like what I will be making in the next life I choose to live.

What is your next big project?

I am in the process of creating a website that will allow me to learn from other women and their stories. I will be sharing the video portraits I make of these “wisdom keepers” with the goal of bringing them together in a documentary, a book and an exhibition, in a few years.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

It’s best not to know. Ignorance made me curious and unaware of the dangers ahead. This allowed me to do things I was technically not qualified to do. I learned along the way. It’s ok to not know, as long as you feel it’s the right thing, you can go anywhere.

Today more than ever, what does honest design mean to you?

Honest design centres on making an object or a situation better.

It has nothing to do with making money. Our economy is upside down. Money is the goal.

This results in bad design, in poor decisions, and in creative and emotional poverty for all of us.

To be creative is to see the options ahead, to grab them, get your hands dirty, and create something that serves us all. Honest design means everyone involved is touched and satisfied and life is better because of these dirty hands.

What are the big trends you have observed in your particular field?

Copying is really hot right now, so is green-washing. I want other brands to start copying all of the ingredients that make my products what they are, both in terms of aesthetics and ethics.

I see people dream wider and bolder. I see middle fingers getting used more. I see people rejecting the lies and the nonsense, taking their business elsewhere, or creating new businesses elsewhere.

I see young people no longer trying to find a job but making one, because the old world is a sinking ship and all it takes is dancing to the music until it drowns and then moving on. I see people no longer thinking of their field but our multiverse. It needs to happen.

We are all one.

Good design is the intersection of nature and nurture.

Where do you look for magic these days?

In my blood.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your field?

This is not fiction. It’s real.

Everyday, me, and my team of 5 women create lingerie that improves the lives of other women.

We support them with lingerie that makes them feel beautiful and strong. This inspires them to surpass fear. All these women have hands and minds and pay this feeling forward. They make the music you listen to, the food you eat, and the medicine you take.

All of our lingerie is made here in Belgium. We source our materials through family owned businesses, based in Belgium, France, Austria or Germany. All their products are OEKO-TEX® approved. We show women like you have never seen them, free from the eagerness to please anyone. We do not aim to please, yet we do, because

On the importance or relevance of storytelling: Stories are the lessons other people have lived. They are the practice shared and we need to tell them over and over again, to every new generation. We need to let go of our material heritage and start taking care of our emotional legacy. We still have to make our own mistakes but it is nice to be informed. It allows us to fail better.

© aultreneveulxestre (a.k.a Murielle Victorine Scherre)

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I have an open ego by nature so it’s not important to me whether people tell me good or bad things about my work.

I can hear comments and react to them on a mental level and improve my product, but they never feed my ego. This allows me to focus on actually making products, images, experiences and sharing.

I like how we are all so connected, how I get inspired by others and how I can return that to them through my work. Inspiring is not a goal, it is inevitable when you create. I like being part of that back and forth of raw energy.

I do not think about how people will remember me. At this point, I want to make designs that support people in what they do or want to

we make what we want to wear, and we make this product in the most respectful of ways.

My business is about perfecting the art of making good things better. If I do this, and you do the same, then we can’t go wrong.

Blackdog Legging and Ramble on Bralette

How would you define timeless design?

Time is an invention. I don’t believe in time as it is measured or controlled today. Timeless design is above this structure. It follows time as nature does, and to go with nature is to be free. Nature IS circular economy and it is our responsibility to create with that in mind.

La Fille d’O

La Fille d’O

31

31

Which designer should we invite next?

Architecture firm De Vylder Vinck Taillieu Milk and Cookies, Belgium.

be doing. When I die I will have new things to think about, like what I will be making in the next life I choose to live.

What is your next big project?

I am in the process of creating a website that will allow me to learn from other women and their stories. I will be sharing the video portraits I make of these “wisdom keepers” with the goal of bringing them together in a documentary, a book and an exhibition, in a few years.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

It’s best not to know. Ignorance made me curious and unaware of the dangers ahead. This allowed me to do things I was technically not qualified to do. I learned along the way. It’s ok to not know, as long as you feel it’s the right thing, you can go anywhere.

Today more than ever, what does honest design mean to you?

Honest design centres on making an object or a situation better.

It has nothing to do with making money. Our economy is upside down. Money is the goal.

This results in bad design, in poor decisions, and in creative and emotional poverty for all of us.

To be creative is to see the options ahead, to grab them, get your hands dirty, and create something that serves us all. Honest design means everyone involved is touched and satisfied and life is better because of these dirty hands.

What are the big trends you have observed in your particular field?

Copying is really hot right now, so is green-washing. I want other brands to start copying all of the ingredients that make my products what they are, both in terms of aesthetics and ethics.

I see people dream wider and bolder. I see middle fingers getting used more. I see people rejecting the lies and the nonsense, taking their business elsewhere, or creating new businesses elsewhere.

I see young people no longer trying to find a job but making one, because the old world is a sinking ship and all it takes is dancing to the music until it drowns and then moving on. I see people no longer thinking of their field but our multiverse. It needs to happen.

We are all one.

Good design is the intersection of nature and nurture.

Where do you look for magic these days?

In my blood.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your field?

This is not fiction. It’s real.

Everyday, me, and my team of 5 women create lingerie that improves the lives of other women.

We support them with lingerie that makes them feel beautiful and strong. This inspires them to surpass fear. All these women have hands and minds and pay this feeling forward. They make the music you listen to, the food you eat, and the medicine you take.

All of our lingerie is made here in Belgium. We source our materials through family owned businesses, based in Belgium, France, Austria or Germany. All their products are OEKO-TEX® approved. We show women like you have never seen them, free from the eagerness to please anyone. We do not aim to please, yet we do, because

On the importance or relevance of storytelling: Stories are the lessons other people have lived. They are the practice shared and we need to tell them over and over again, to every new generation. We need to let go of our material heritage and start taking care of our emotional legacy. We still have to make our own mistakes but it is nice to be informed. It allows us to fail better.

© aultreneveulxestre (a.k.a Murielle Victorine Scherre)

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I have an open ego by nature so it’s not important to me whether people tell me good or bad things about my work.

I can hear comments and react to them on a mental level and improve my product, but they never feed my ego. This allows me to focus on actually making products, images, experiences and sharing.

I like how we are all so connected, how I get inspired by others and how I can return that to them through my work. Inspiring is not a goal, it is inevitable when you create. I like being part of that back and forth of raw energy.

I do not think about how people will remember me. At this point, I want to make designs that support people in what they do or want to

we make what we want to wear, and we make this product in the most respectful of ways.

My business is about perfecting the art of making good things better. If I do this, and you do the same, then we can’t go wrong.

Blackdog Legging and Ramble on Bralette

How would you define timeless design?

Time is an invention. I don’t believe in time as it is measured or controlled today. Timeless design is above this structure. It follows time as nature does, and to go with nature is to be free. Nature IS circular economy and it is our responsibility to create with that in mind.

La Fille d’O

La Fille d’O

31

30 Olivier Lipski

Pleix

“If your work makes people smile or even laugh it’s another very powerful way to gain attention.”

Pleix

Pleix

Video • Installation Paris

Still from short film Shuttles

30 Olivier Lipski

Pleix

“If your work makes people smile or even laugh it’s another very powerful way to gain attention.”

Pleix

Pleix

Video • Installation Paris

Still from short film Shuttles

30

30

It’s been 2 years since you came to Luxembourg, what have you been up to since?

Mainly commercial work.

We worked on campaigns for Nissan, GRT, Hennessy and Coca-Cola but more importantly we managed to finish a new short film called Shuttles. The project was entirely made from amateur footage found on YouTube, a different way of approaching a film. The tricky part was to find a guideline, without being specifically narrative, which allowed us to build a story around space shuttles. Special effects allowed us to change reality and turn the footage into something different and in the end make it our own.

When you gave your talk for Design Friends was that your first time in Luxembourg?

We knew the city because one of us is from Luxembourg.

The pleasant surprise was the friendly, welcoming and very professional attitude of the Design Friends and Cercle Cité teams.

What is your next big project?

On a commercial level, we changed representations

in different countries and our aim is to do more work out of the UK and Scandinavia. Regarding our personal work some projects are in development, not just short films but also video installations.

Some should hopefully see the light in 2019.

Where do you look for magic these days?

Contemporary design, installation work (art, concert, fashion), theatre set design, graphic design and films from the seventies.

How important is it for you to inspire people?

When it happens, it's very rewarding and it keeps you going when you have some doubts, but when it comes to creating or designing a new piece you have to forget about it and just focus on the work and what it means to you only.

How would you like people to remember your work, and what sort of legacy do you want to leave?

Does it really matter?

Good design is the intersection of a great idea and a harmonious shape.

What tips would you give to aspiring designers seeking a start in your particular field?

Design schools aren’t everything.

Take the time to work for people who inspire you. On a cultural level it’s usually very rewarding and it allows you to be up-to-date with the latest technologies and the real needs of our industry. In parallel start developing your own work and jump when you feel ready.

What are the big trends you have observed in your particular field?

Multiplatform communication.

These days, brands invest as much in sponsoring an event or a documentary, developing an app for your phone, creating small clips for Instagram than in a classical commercial or a print campaign. You have to be flexible these days.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

There are no rules. It really depends of the kind of message you try to convey. When you work for Amnesty International it has to be impactful and straight to the point, not necessarily shocking, but visually and emotionally strong so it stays as long as possible with the viewer. But sometimes if your work makes people smile or even laugh it’s another very powerful way to gain attention.

How would you define timeless design?

Helvetica hasn’t aged.

Pleix

Pleix

On the importance or relevance of storytelling: More than telling a story, the idea is what matters most to us.

Sometimes a video can just be about a specific feeling and although its structure can be perceived as abstract, the viewer will be able to connect with it if the idea is strong and easy to understand.

Failure is when a client doesn’t allow

you to fulfill your vision because he is scared for the wrong reasons.

Not being able to convince can be really frustrating.

Your work pays your bills, but how do you stay excited about your chosen path?

Getting paid to do some creative work is fantastic and if earning enough money allows you to buy some time to develop different things like experimental films or working on an exhibition then the balance feels right.

Stills from short film Shuttles

30

30

It’s been 2 years since you came to Luxembourg, what have you been up to since?

Mainly commercial work.

We worked on campaigns for Nissan, GRT, Hennessy and Coca-Cola but more importantly we managed to finish a new short film called Shuttles. The project was entirely made from amateur footage found on YouTube, a different way of approaching a film. The tricky part was to find a guideline, without being specifically narrative, which allowed us to build a story around space shuttles. Special effects allowed us to change reality and turn the footage into something different and in the end make it our own.

When you gave your talk for Design Friends was that your first time in Luxembourg?

We knew the city because one of us is from Luxembourg.

The pleasant surprise was the friendly, welcoming and very professional attitude of the Design Friends and Cercle Cité teams.

What is your next big project?

On a commercial level, we changed representations

in different countries and our aim is to do more work out of the UK and Scandinavia. Regarding our personal work some projects are in development, not just short films but also video installations.

Some should hopefully see the light in 2019.

Where do you look for magic these days?

Contemporary design, installation work (art, concert, fashion), theatre set design, graphic design and films from the seventies.

How important is it for you to inspire people?

When it happens, it's very rewarding and it keeps you going when you have some doubts, but when it comes to creating or designing a new piece you have to forget about it and just focus on the work and what it means to you only.

How would you like people to remember your work, and what sort of legacy do you want to leave?

Does it really matter?

Good design is the intersection of a great idea and a harmonious shape.

What tips would you give to aspiring designers seeking a start in your particular field?

Design schools aren’t everything.

Take the time to work for people who inspire you. On a cultural level it’s usually very rewarding and it allows you to be up-to-date with the latest technologies and the real needs of our industry. In parallel start developing your own work and jump when you feel ready.

What are the big trends you have observed in your particular field?

Multiplatform communication.

These days, brands invest as much in sponsoring an event or a documentary, developing an app for your phone, creating small clips for Instagram than in a classical commercial or a print campaign. You have to be flexible these days.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

There are no rules. It really depends of the kind of message you try to convey. When you work for Amnesty International it has to be impactful and straight to the point, not necessarily shocking, but visually and emotionally strong so it stays as long as possible with the viewer. But sometimes if your work makes people smile or even laugh it’s another very powerful way to gain attention.

How would you define timeless design?

Helvetica hasn’t aged.

Pleix

Pleix

On the importance or relevance of storytelling: More than telling a story, the idea is what matters most to us.

Sometimes a video can just be about a specific feeling and although its structure can be perceived as abstract, the viewer will be able to connect with it if the idea is strong and easy to understand.

Failure is when a client doesn’t allow

you to fulfill your vision because he is scared for the wrong reasons.

Not being able to convince can be really frustrating.

Your work pays your bills, but how do you stay excited about your chosen path?

Getting paid to do some creative work is fantastic and if earning enough money allows you to buy some time to develop different things like experimental films or working on an exhibition then the balance feels right.

Stills from short film Shuttles

© Wolf-Dieter Grabner

29 Alexandra Murray-Leslie

Alexandra Murray-Leslie

“Our current mission is to promote stopping the use of plastic and plastic bags to save our oceans by working directly with Greenpeace.”

© Nacho Alegre

Computer Enhanced Footwear prototype 3 (performed at Ars Electronica), 2017

Alexandra Murray-Leslie

High Technology Fashion Design Barcelona

© Wolf-Dieter Grabner

29 Alexandra Murray-Leslie

Alexandra Murray-Leslie

“Our current mission is to promote stopping the use of plastic and plastic bags to save our oceans by working directly with Greenpeace.”

© Nacho Alegre

Computer Enhanced Footwear prototype 3 (performed at Ars Electronica), 2017

Alexandra Murray-Leslie

High Technology Fashion Design Barcelona

It’s been a few years since you’ve been in Luxembourg, what have you been up to in the time since?

I presented a keynote about my research into the Liberation of the feet and remaking High Heeled Shoes. It was a conference titled Shoes Designer Product, Everyday Object held at the Zürich University of the Arts.

I held a keynote presentation about my research into foot wearables at the Grey Area for the Arts in San Francisco, where I was also an artist in residence at Pier 9.

More recently, I was an Artistic Director at Mobile World Congress in Barcelona, where I designed and produced ECOcyborg fashion tech show featuring the godfather of wearable tech Steve Mann.

At the Kunsthalle Basel I presented Look Therapy, All Over, Over All, a collaborative fashion performance featuring my computer enhanced footwear prototype 1 and high heeled shoe guitar.

I presented my computer enhanced footwear prototypes and high heeled shoe guitar at the Science Gallery’s Sound Check exhibition in Dublin, followed by performances in Linz and Berlin.

At the Whitechapel Gallery in London, I presented FOOTwerk, Improvisations in Gender, Sound and Space and Dive, short films I directed featuring the computer enhanced footwear prototypes.

This year, at the Trondheim Electronica Arts Centre, I held a keynote presentation on my research into computer-enhanced footwear.

Finally, in Riga Biennale of Contemporary Art, I presented my live performance The Liberation of the Feet: Demaking the High Heeled Shoe.

When you gave your talk for Design Friends was that your first time in Luxembourg?

I’ve been to Luxembourg before on tour with my group Chicks on Speed. I find it an amazing and lively place, nurturing local design, art and culture. It seems there’s a good support for design and art, which is so great! It seemed like

29 mediums. I think I’ve changed some young women’s lives by sharing what I know in theatrical new media and wearable tech performance.

I think sharing the courage my group and I, have imparted along the way, has empowered many young women.

Still from short film Dive, 2018

a smallish town, which I really like, as an artist you can concentrate on getting new work done, not too much going on in the way of parties… but maybe I’m wrong!

What is your next big project?

I’m an artist in residence, as part of the NTNU's (Norwegian University of science and technology) ARTEC Art and technology taskforce, starting in the fall this year followed by taking up a post doc.

How would you like people to remember your work, and what sort of legacy do you want to leave?

Empowering young women to make great, daring art, performances and thinking radically and in a visionary way, never taking no for an answer when it comes to making difficult new work, and having artistic intelligence when using new technologies to pioneer new inventions.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your respective field?

(I don’t mean in a superhero kind of way — though why not if that is something you fantasise about — but rather a way to focus attention, or provoke, or bring about grand-scale change.)

Our current mission is to promote stopping the use of plastic and plastic bags to save our oceans by working directly with Greenpeace.

I think in our own way we can help

Good design is the intersection of science and art and technology and artistic intelligence.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

Check out kadneze.com.

It’s a “machine learning for artists” online course. I highly recommend studying at Interface Cultures, the university of Art and Design Linz or in the Fashion & Technology course.

On the importance or relevance of storytelling: A poetic narrative is key to a strong pop song.

What are the big trends you have observed in your particular field?

The development of bioplastics, and the use of kelp to fabricate 3D printable materials.

The liberation of feet.

How would you define timeless design?

Something that isn’t disposable, but compostable.

How important is it for you to inspire people?

I give a lot of student audiovisual workshops around the globe, which have led to many fruitful collaborations in different artistic

E-Shoe by Chicks on Speed (Alex Murray-Leslie and Max Kibardin), 2010

promote this important message through the live performance of our new song My mind is like a plastic bag in 2019 and onwards.

shoes, they extend the body, the shoe becomes an audiovisual instrument for artistic theatrical expression on stage.

Where do you look for magic these days?

In the Coromandel Peninsula, New Zealand when I’m visiting family and friends.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

Interactive art and performance for participatory democracy.

Failure is thinking about ideas and not making them.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Yes, I think the fact you can integrate miniaturised technology (micro controllers and sensors) into objects and fashion, changes their very meaning and enhances them to become new types of tools for sensing and expression.

Like with my computer-enhanced

Today more than ever, what does honest design mean to you?

Wikileaks supported devices.

Your work pays your bills, but how do you stay excited about your chosen path?

Inventing computational foot devices and performing with them in unexpected ways in air, water and on land for new somatic experiences for myself and others.

Alexandra Murray-Leslie

Alexandra Murray-Leslie

29

It’s been a few years since you’ve been in Luxembourg, what have you been up to in the time since?

I presented a keynote about my research into the Liberation of the feet and remaking High Heeled Shoes. It was a conference titled Shoes Designer Product, Everyday Object held at the Zürich University of the Arts.

I held a keynote presentation about my research into foot wearables at the Grey Area for the Arts in San Francisco, where I was also an artist in residence at Pier 9.

More recently, I was an Artistic Director at Mobile World Congress in Barcelona, where I designed and produced ECOcyborg fashion tech show featuring the godfather of wearable tech Steve Mann.

At the Kunsthalle Basel I presented Look Therapy, All Over, Over All, a collaborative fashion performance featuring my computer enhanced footwear prototype 1 and high heeled shoe guitar.

I presented my computer enhanced footwear prototypes and high heeled shoe guitar at the Science Gallery’s Sound Check exhibition in Dublin, followed by performances in Linz and Berlin.

At the Whitechapel Gallery in London, I presented FOOTwerk, Improvisations in Gender, Sound and Space and Dive, short films I directed featuring the computer enhanced footwear prototypes.

This year, at the Trondheim Electronica Arts Centre, I held a keynote presentation on my research into computer-enhanced footwear.

Finally, in Riga Biennale of Contemporary Art, I presented my live performance The Liberation of the Feet: Demaking the High Heeled Shoe.

When you gave your talk for Design Friends was that your first time in Luxembourg?

I’ve been to Luxembourg before on tour with my group Chicks on Speed. I find it an amazing and lively place, nurturing local design, art and culture. It seems there’s a good support for design and art, which is so great! It seemed like

29 mediums. I think I’ve changed some young women’s lives by sharing what I know in theatrical new media and wearable tech performance.

I think sharing the courage my group and I, have imparted along the way, has empowered many young women.

Still from short film Dive, 2018

a smallish town, which I really like, as an artist you can concentrate on getting new work done, not too much going on in the way of parties… but maybe I’m wrong!

What is your next big project?

I’m an artist in residence, as part of the NTNU's (Norwegian University of science and technology) ARTEC Art and technology taskforce, starting in the fall this year followed by taking up a post doc.

How would you like people to remember your work, and what sort of legacy do you want to leave?

Empowering young women to make great, daring art, performances and thinking radically and in a visionary way, never taking no for an answer when it comes to making difficult new work, and having artistic intelligence when using new technologies to pioneer new inventions.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your respective field?

(I don’t mean in a superhero kind of way — though why not if that is something you fantasise about — but rather a way to focus attention, or provoke, or bring about grand-scale change.)

Our current mission is to promote stopping the use of plastic and plastic bags to save our oceans by working directly with Greenpeace.

I think in our own way we can help

Good design is the intersection of science and art and technology and artistic intelligence.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

Check out kadneze.com.

It’s a “machine learning for artists” online course. I highly recommend studying at Interface Cultures, the university of Art and Design Linz or in the Fashion & Technology course.

On the importance or relevance of storytelling: A poetic narrative is key to a strong pop song.

What are the big trends you have observed in your particular field?

The development of bioplastics, and the use of kelp to fabricate 3D printable materials.

The liberation of feet.

How would you define timeless design?

Something that isn’t disposable, but compostable.

How important is it for you to inspire people?

I give a lot of student audiovisual workshops around the globe, which have led to many fruitful collaborations in different artistic

E-Shoe by Chicks on Speed (Alex Murray-Leslie and Max Kibardin), 2010

promote this important message through the live performance of our new song My mind is like a plastic bag in 2019 and onwards.

shoes, they extend the body, the shoe becomes an audiovisual instrument for artistic theatrical expression on stage.

Where do you look for magic these days?

In the Coromandel Peninsula, New Zealand when I’m visiting family and friends.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

Interactive art and performance for participatory democracy.

Failure is thinking about ideas and not making them.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Yes, I think the fact you can integrate miniaturised technology (micro controllers and sensors) into objects and fashion, changes their very meaning and enhances them to become new types of tools for sensing and expression.

Like with my computer-enhanced

Today more than ever, what does honest design mean to you?

Wikileaks supported devices.

Your work pays your bills, but how do you stay excited about your chosen path?

Inventing computational foot devices and performing with them in unexpected ways in air, water and on land for new somatic experiences for myself and others.

Alexandra Murray-Leslie

Alexandra Murray-Leslie

29

28 Philippe Apeloig

Invitation cards for the opening of the Musée Yves Saint Laurent (Marrakech), 2017

Philippe Apeloig

Graphic Design Paris

“The nonstop use of technology implies that we are, all around the world, starving for images.”

28 Philippe Apeloig

Invitation cards for the opening of the Musée Yves Saint Laurent (Marrakech), 2017

Philippe Apeloig

Graphic Design Paris

“The nonstop use of technology implies that we are, all around the world, starving for images.”

It’s been 3 years since you’ve been in Luxembourg, what have you been up to in the time since?

Since then, I worked with architect Jean Nouvel, who asked me to design the signage for the Louvre Abu Dhabi. The pictogram’s basic shapes are inspired by the light forms generated by the dome, which is made of several layers forming, somehow, a gigantic Mashrabiya. Also an opportunity to combine a modernist Latin typeface, the Frutiger Next, and a classical Arabic typeface designed by Lebanese type designer Kristyan Sarkis. I also designed the logotype, the complete corporate identity and the signage of the Yves Saint Laurent Museum in Marrakech, built by KO Architects. The logotype’s global form is a pure diamond shape, based on Yves Saint Laurent’s passion for Mondrian’s art spirit, and also the traditional Moroccan tiles “zelliges”. I have used the initial letters of every word to complete the logotype, and preferred to use the lowercases for the two “m” because their round shapes match the typical Moorish arcade forms.The combination of lowercases and the capital letters used for the initials of Yves Saint Laurent entails a hierarchy inside the diamond shape logotype.

For all the printed materials, and for the animation, I wanted to use a very large colour palette, to reflect how much Yves Saint Laurent was himself influenced by the Mediterranean light and the very colourful local artefacts.

Last year, I was honoured to be invited by Issey Miyake to design

Packaging for L’Eau d’Issey and L’Eau d’Issey pour Homme (Issey Miyake Fragrance), 2017

28 Good design is the intersection of concept and beauty.

I was pleased to see them develop ten typefaces based on letters I drew for various projects, to form their “Apeloig Type Library”.

Recently, they released a new typeface, called Rektorat, initially designed for the Museum Für Gestaltung. To draw the letters, they used the historical letterings, which were on the modernist building the museum and the art school is in.

Service Galaxie, Sèvres, Cité de la Céramique, 2017

the package visuals of his iconic fragrances for the 2017 season.

I used the shapes of the two bottles (for men and for women) to design two bespoke typefaces, which I then used to create the box designs.

In addition, the same year, I was lucky to see the result of more than a year of research with the famous French national ceramic manufacturer “La Manufacture de Sèvres,” who invited me to conceive three rhythmic patterns, which have been applied on various plates. One of my designs consists of gold slashes that diffuse outward and curve like a cresting wave; another one is made of dots arranged as a galaxy, with the Sèvres blue as background; and the third is a light sprinkle of elongated hyphens.

During the summer of 2017, the GGG Gallery in Tokyo held an exhibition of my recent works, and published a catalogue in their series GGG-Books.

On top of that, I also designed the new logotype for the “Fédération de la Haute Couture et de la Mode”, as well as the “Sidaction” visual identity for the second time.

Sidaction is a major event, aiming at raising awareness and collecting funds for various AIDS-related organisations and institutions.

This volunteer work marks my personal involvement in this project.

What is your next big project?

This fall, my book about the 1939 - 1945 commemorative plaques in Paris will be published.

This incredible and unprecedented work gathers photographs of these unique urban features over 1200 pages, which will be accompanied by an autobiographic text I wrote, and another one written by a Philosopher and Professor of Aesthetics at the Sorbonne University. The book will be dedicated to youth.

It’s an invitation to understand the past in order to live better together, today. While the last survivors of the Second World War

are disappearing, the transmission of the memory of those who have fallen during the German Occupation and the Liberation of Paris is particularly crucial.

These plaques, regularly decorated with bouquets of flowers, are whispers of stolen lives, and honour people that have become ghosts.

Today more than ever, what does honest design mean to you?

A permanent respect for those who will receive the designed production.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

The nonstop use of technology implies that we are, all around the world, starving for images.

I think this phenomenon has entailed something of an increased interest in design, to learn the process of visual communication.

Where do you look for magic these days?

I would probably say the sky.

I wonder where the sky starts and where its stops: when does the space become the Space?

Failure is misunderstanding.

Which designer should we invite next?

I would recommend Swiss designers and type designers Clovis Vallois and Anton Studer, who have founded the foundry Nouvelle Noire (nouvellenoire.ch).

They create very interesting typefaces, and among their projects,

Luminous signage and Navigational Map for the Grand Vestibule of the Louvre Abu Dhabi (designed for HW / Ateliers Jean Nouvel), 2017

How would you define timeless design?

Forever fresh.

Your work pays your bills, but how do you stay excited about your chosen path?

By not being afraid of engaging myself in work positions or jobs that I have never done before.

Philippe Apeloig

Philippe Apeloig

28

It’s been 3 years since you’ve been in Luxembourg, what have you been up to in the time since?

Since then, I worked with architect Jean Nouvel, who asked me to design the signage for the Louvre Abu Dhabi. The pictogram’s basic shapes are inspired by the light forms generated by the dome, which is made of several layers forming, somehow, a gigantic Mashrabiya. Also an opportunity to combine a modernist Latin typeface, the Frutiger Next, and a classical Arabic typeface designed by Lebanese type designer Kristyan Sarkis. I also designed the logotype, the complete corporate identity and the signage of the Yves Saint Laurent Museum in Marrakech, built by KO Architects. The logotype’s global form is a pure diamond shape, based on Yves Saint Laurent’s passion for Mondrian’s art spirit, and also the traditional Moroccan tiles “zelliges”. I have used the initial letters of every word to complete the logotype, and preferred to use the lowercases for the two “m” because their round shapes match the typical Moorish arcade forms.The combination of lowercases and the capital letters used for the initials of Yves Saint Laurent entails a hierarchy inside the diamond shape logotype.

For all the printed materials, and for the animation, I wanted to use a very large colour palette, to reflect how much Yves Saint Laurent was himself influenced by the Mediterranean light and the very colourful local artefacts.

Last year, I was honoured to be invited by Issey Miyake to design

Packaging for L’Eau d’Issey and L’Eau d’Issey pour Homme (Issey Miyake Fragrance), 2017

28 Good design is the intersection of concept and beauty.

I was pleased to see them develop ten typefaces based on letters I drew for various projects, to form their “Apeloig Type Library”.

Recently, they released a new typeface, called Rektorat, initially designed for the Museum Für Gestaltung. To draw the letters, they used the historical letterings, which were on the modernist building the museum and the art school is in.

Service Galaxie, Sèvres, Cité de la Céramique, 2017

the package visuals of his iconic fragrances for the 2017 season.

I used the shapes of the two bottles (for men and for women) to design two bespoke typefaces, which I then used to create the box designs.

In addition, the same year, I was lucky to see the result of more than a year of research with the famous French national ceramic manufacturer “La Manufacture de Sèvres,” who invited me to conceive three rhythmic patterns, which have been applied on various plates. One of my designs consists of gold slashes that diffuse outward and curve like a cresting wave; another one is made of dots arranged as a galaxy, with the Sèvres blue as background; and the third is a light sprinkle of elongated hyphens.

During the summer of 2017, the GGG Gallery in Tokyo held an exhibition of my recent works, and published a catalogue in their series GGG-Books.

On top of that, I also designed the new logotype for the “Fédération de la Haute Couture et de la Mode”, as well as the “Sidaction” visual identity for the second time.

Sidaction is a major event, aiming at raising awareness and collecting funds for various AIDS-related organisations and institutions.

This volunteer work marks my personal involvement in this project.

What is your next big project?

This fall, my book about the 1939 - 1945 commemorative plaques in Paris will be published.

This incredible and unprecedented work gathers photographs of these unique urban features over 1200 pages, which will be accompanied by an autobiographic text I wrote, and another one written by a Philosopher and Professor of Aesthetics at the Sorbonne University. The book will be dedicated to youth.

It’s an invitation to understand the past in order to live better together, today. While the last survivors of the Second World War

are disappearing, the transmission of the memory of those who have fallen during the German Occupation and the Liberation of Paris is particularly crucial.

These plaques, regularly decorated with bouquets of flowers, are whispers of stolen lives, and honour people that have become ghosts.

Today more than ever, what does honest design mean to you?

A permanent respect for those who will receive the designed production.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

The nonstop use of technology implies that we are, all around the world, starving for images.

I think this phenomenon has entailed something of an increased interest in design, to learn the process of visual communication.

Where do you look for magic these days?

I would probably say the sky.

I wonder where the sky starts and where its stops: when does the space become the Space?

Failure is misunderstanding.

Which designer should we invite next?

I would recommend Swiss designers and type designers Clovis Vallois and Anton Studer, who have founded the foundry Nouvelle Noire (nouvellenoire.ch).

They create very interesting typefaces, and among their projects,

Luminous signage and Navigational Map for the Grand Vestibule of the Louvre Abu Dhabi (designed for HW / Ateliers Jean Nouvel), 2017

How would you define timeless design?

Forever fresh.

Your work pays your bills, but how do you stay excited about your chosen path?

By not being afraid of engaging myself in work positions or jobs that I have never done before.

Philippe Apeloig

Philippe Apeloig

28

27

Eduardo Aires

Corporate Design Porto

Š Alexandre Delmar

Eduardo Aires

“The history and the story are key in defining strategies and setting the tone of a project. Storytelling is the very soul.�

Commemorative collector coin Glass and Iron Age, 2018

This commemorative collector coin is the 2017 Portuguese contribution to the European Silver Programme, an initiative dedicated to celebrating European identity through the issuance of legal tender coins in precious metals, especially oriented for collectors.

27

Eduardo Aires

Corporate Design Porto

Š Alexandre Delmar

Eduardo Aires

“The history and the story are key in defining strategies and setting the tone of a project. Storytelling is the very soul.�

Commemorative collector coin Glass and Iron Age, 2018

This commemorative collector coin is the 2017 Portuguese contribution to the European Silver Programme, an initiative dedicated to celebrating European identity through the issuance of legal tender coins in precious metals, especially oriented for collectors.

27

27

Herdade de Coelheiros is a wine estate located in Arraiolos, a village best known for its famous handmade tapestries. Their cross stitch, that can be traced to the 17th century.

When you gave your talk for Design Friends was that your first time in Luxembourg?

Yes, it was my first time in Luxembourg. I had imagined an even smaller country. I soon realised the amazing bonds amidst your community and foreign communities. I couldn’t have felt more welcomed.

What is your next big project?

The visual communication programme for Bolhão Market.

Bolhão is our most iconic fresh produce market, now undergoing a total rehabilitation. I’m deeply honoured to be able to be a part of its rebirth. I’m also very excited to be involved in the upcoming Porto Design Biennale 2019.

What tips would you give to aspiring designers seeking a start in your particular field? What would you have liked to know when you first started working?

I personally would have liked to have been more “philosophical”, to have had philosophical tools to understand and articulate reality. However, my advice to aspiring designers is: be curious, adventurous, humble and collaborative, always observe professional ethics.

© Alexandre Delmar

Which designer should we invite next?

Kenya Hara is a Japanese designer whose work and philosophy I deeply admire. If you do invite him, please save me a front row seat.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I don’t think of myself as an inspirer, nor do I go around conscious of leaving any kind of legacy. It would be very depressing to live by a posthumous image of myself. My sole concern is with my four children. I would like them to remember me also by the artefacts I created.

Identity and packaging for Coelheiros

Good design is the intersection of an intelligent and witty briefing and strong, coherent solutions.

Today more than ever, what does honest design mean to you?

Clear-cut answers to the client’s brief, in rich, powerful statements, regardless of fashionable trends or formalist fantasies.

Exhibition and catalogue for the Museu Nacional de Soares dos Reis and Museu Nacional de Arte Contemporânea do Chiado, 2016-2017

On the importance or relevance of storytelling: For me, narrative and storytelling are the backbones of any project.

The history and the story are key in defining strategies and setting the tone of a project. Storytelling is the very soul.

How would you define timeless design?

Timeless design is whatever project or object that still feels right.

Your work pays your bills, but how do you stay excited about your chosen path?

Right now, I am fortunate enough to be able to actually choose my path.

So, that itself is a motivation.

It really is very easy to keep the flame. I have the privilege of working in very interesting contexts with amazing people with whom I learn a great deal.

Failure is inevitable and not

necessarily bad. You learn a lot from it. Do fail.

Eduardo Aires

Eduardo Aires

Where do you look for magic these days?

Love and passion for people and projects.

© Nuno Moreira

It’s been a few years since you’ve been in Luxembourg, what have you been up to in the years since?

We have continued developing and expanding Porto’s identity, and have worked on a number of exciting projects, both with our core clients and new ones. Esporão and Quinta dos Murças, defy us with emerging challenges. Recently, we designed collector and circulation euro coins for the Portuguese Mint House, both really interesting experiences: 5 euros “Glass and Iron Age” and 2 euros “250 anniversary of the National Printing House”.

27

27

Herdade de Coelheiros is a wine estate located in Arraiolos, a village best known for its famous handmade tapestries. Their cross stitch, that can be traced to the 17th century.

When you gave your talk for Design Friends was that your first time in Luxembourg?

Yes, it was my first time in Luxembourg. I had imagined an even smaller country. I soon realised the amazing bonds amidst your community and foreign communities. I couldn’t have felt more welcomed.

What is your next big project?

The visual communication programme for Bolhão Market.

Bolhão is our most iconic fresh produce market, now undergoing a total rehabilitation. I’m deeply honoured to be able to be a part of its rebirth. I’m also very excited to be involved in the upcoming Porto Design Biennale 2019.

What tips would you give to aspiring designers seeking a start in your particular field? What would you have liked to know when you first started working?

I personally would have liked to have been more “philosophical”, to have had philosophical tools to understand and articulate reality. However, my advice to aspiring designers is: be curious, adventurous, humble and collaborative, always observe professional ethics.

© Alexandre Delmar

Which designer should we invite next?

Kenya Hara is a Japanese designer whose work and philosophy I deeply admire. If you do invite him, please save me a front row seat.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I don’t think of myself as an inspirer, nor do I go around conscious of leaving any kind of legacy. It would be very depressing to live by a posthumous image of myself. My sole concern is with my four children. I would like them to remember me also by the artefacts I created.

Identity and packaging for Coelheiros

Good design is the intersection of an intelligent and witty briefing and strong, coherent solutions.

Today more than ever, what does honest design mean to you?

Clear-cut answers to the client’s brief, in rich, powerful statements, regardless of fashionable trends or formalist fantasies.

Exhibition and catalogue for the Museu Nacional de Soares dos Reis and Museu Nacional de Arte Contemporânea do Chiado, 2016-2017

On the importance or relevance of storytelling: For me, narrative and storytelling are the backbones of any project.

The history and the story are key in defining strategies and setting the tone of a project. Storytelling is the very soul.

How would you define timeless design?

Timeless design is whatever project or object that still feels right.

Your work pays your bills, but how do you stay excited about your chosen path?

Right now, I am fortunate enough to be able to actually choose my path.

So, that itself is a motivation.

It really is very easy to keep the flame. I have the privilege of working in very interesting contexts with amazing people with whom I learn a great deal.

Failure is inevitable and not

necessarily bad. You learn a lot from it. Do fail.

Eduardo Aires

Eduardo Aires

Where do you look for magic these days?

Love and passion for people and projects.

© Nuno Moreira

It’s been a few years since you’ve been in Luxembourg, what have you been up to in the years since?

We have continued developing and expanding Porto’s identity, and have worked on a number of exciting projects, both with our core clients and new ones. Esporão and Quinta dos Murças, defy us with emerging challenges. Recently, we designed collector and circulation euro coins for the Portuguese Mint House, both really interesting experiences: 5 euros “Glass and Iron Age” and 2 euros “250 anniversary of the National Printing House”.

26 Light Design • Digital Design Berlin

Project for Euroboden Architecture (Kolberger 5), 2017

“Brands are the strongest influencers these days.

Storytelling and connecting people is a pivotal success factor for innovation.”

Klaus-Peter Siemssen

Klaus-Peter Siemssen

26 Light Design • Digital Design Berlin

Project for Euroboden Architecture (Kolberger 5), 2017

“Brands are the strongest influencers these days.

Storytelling and connecting people is a pivotal success factor for innovation.”

Klaus-Peter Siemssen

Klaus-Peter Siemssen

26

It’s been a few years since you’ve been in Luxembourg, what have you been up to in the time since?

In 2015 I joined the premium lighting brand Occhio as managing director and shareholder. What Axel Meise, the owner, has established is impressive. Occhio has an aptitude for quality, process and love of details, as I have never experienced it in this industry before.

Within the last 3 years we have digitalised the product basket and the company in the supply chain and marketing. Occhio sets a standard in many ways regarding branding and product quality and design. Within the last decade the industry I work for has had to digitalise enormously. To achieve this, I learned, that we have to change our leadership mode.

Today, we need both quality and innovation and complexity and speed. Brand and company culture is essential for this process.

When you gave your talk for Design Friends was that your first time in Luxembourg?

I have been in Luxembourg many times. However, the time spent with the Design Friends team was an extraordinary experience.

The Mudam was impressive, and I was impressed by the people I met. European culture at its best — open-minded and creative people who do not want to have borders limiting themselves.

Which designer should we invite next?

I recommend Hugo Göldner and Martin Christel from CDLX in Berlin. I just joined their company as a shareholder. Hugo has established a very clean and minimal design, which I love.

During my time at Occhio, we worked with Martin et Karczinski.

The way they develop brands is very passionate. What they have done Marketing campaign for the Landeshochschule Sachsen-Anhalt, 2017

the end, if I manage to inspire one person to find out and do what he loves in life and by doing so influencing his life for the better, then it’s more than I could hope for.

with Lufthansa or Occhio shows a deep understanding of the brands and their markets.

Project for Euroboden Architecture (Kolberger 5), 2017

What is your next big project?

I have just established my own company Diculta and joined CDLX. In the last years as manager at Siteco, Selux or Occhio I saw how strongly digital transformation influences the culture and brand of companies. Brands are the strongest influencers these days.

Storytelling and connecting people is a pivotal success factor for innovation. I believe that the way we work together presents enormous potential. Leaders have to get storytellers, teachers and bring strong teams together.

Failure is the interim destination

on the way to the interim solution.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

It is all about culture. If you join a company — search for the right attitude. Attitude is everything.

What are the big trends you have observed in your particular field?

Smart processes and connectivity create speed and beauty.

How would you define timeless design?

Design that makes sense in the long run. Timeless design survives the story.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

This is a tricky one. Usually, we all would say, we are driven by our own dreams. But to be honest, in

On the importance or relevance of storytelling: Storytelling is everything.

Stories give sense and sense gives confidence. Human beings love stories so much, that they fight the truth to secure them. Religions, brands are stories and they give us values and reasons.

Today more than ever, what does honest design mean to you?

Understanding the why! Why do we do what we do? What are the drivers? In a complex and fast world focusing on the core is the essential task.

Your work pays your bills, but how do you stay excited about your chosen path?

Big bills are only paid to people who live their dreams.

Klaus-Peter Siemssen

Klaus-Peter Siemssen

26

26

It’s been a few years since you’ve been in Luxembourg, what have you been up to in the time since?

In 2015 I joined the premium lighting brand Occhio as managing director and shareholder. What Axel Meise, the owner, has established is impressive. Occhio has an aptitude for quality, process and love of details, as I have never experienced it in this industry before.

Within the last 3 years we have digitalised the product basket and the company in the supply chain and marketing. Occhio sets a standard in many ways regarding branding and product quality and design. Within the last decade the industry I work for has had to digitalise enormously. To achieve this, I learned, that we have to change our leadership mode.

Today, we need both quality and innovation and complexity and speed. Brand and company culture is essential for this process.

When you gave your talk for Design Friends was that your first time in Luxembourg?

I have been in Luxembourg many times. However, the time spent with the Design Friends team was an extraordinary experience.

The Mudam was impressive, and I was impressed by the people I met. European culture at its best — open-minded and creative people who do not want to have borders limiting themselves.

Which designer should we invite next?

I recommend Hugo Göldner and Martin Christel from CDLX in Berlin. I just joined their company as a shareholder. Hugo has established a very clean and minimal design, which I love.

During my time at Occhio, we worked with Martin et Karczinski.

The way they develop brands is very passionate. What they have done Marketing campaign for the Landeshochschule Sachsen-Anhalt, 2017

the end, if I manage to inspire one person to find out and do what he loves in life and by doing so influencing his life for the better, then it’s more than I could hope for.

with Lufthansa or Occhio shows a deep understanding of the brands and their markets.

Project for Euroboden Architecture (Kolberger 5), 2017

What is your next big project?

I have just established my own company Diculta and joined CDLX. In the last years as manager at Siteco, Selux or Occhio I saw how strongly digital transformation influences the culture and brand of companies. Brands are the strongest influencers these days.

Storytelling and connecting people is a pivotal success factor for innovation. I believe that the way we work together presents enormous potential. Leaders have to get storytellers, teachers and bring strong teams together.

Failure is the interim destination

on the way to the interim solution.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

It is all about culture. If you join a company — search for the right attitude. Attitude is everything.

What are the big trends you have observed in your particular field?

Smart processes and connectivity create speed and beauty.

How would you define timeless design?

Design that makes sense in the long run. Timeless design survives the story.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

This is a tricky one. Usually, we all would say, we are driven by our own dreams. But to be honest, in

On the importance or relevance of storytelling: Storytelling is everything.

Stories give sense and sense gives confidence. Human beings love stories so much, that they fight the truth to secure them. Religions, brands are stories and they give us values and reasons.

Today more than ever, what does honest design mean to you?

Understanding the why! Why do we do what we do? What are the drivers? In a complex and fast world focusing on the core is the essential task.

Your work pays your bills, but how do you stay excited about your chosen path?

Big bills are only paid to people who live their dreams.

Klaus-Peter Siemssen

Klaus-Peter Siemssen

26

25 Erik Spiekermann

Erik Spiekermann

“Nobody can make complex problems simple, but designers can at least make them accessible.”

Poster printed letterpress from wood type at p98a

p98a is an experimental letterpress workshop in Berlin Tiergarten, dedicated to letters, printing and paper. We explore how letterpress can be redefined in the 21st century.

Erik Spiekermann

Graphic Design Berlin • London • San Francisco

25 Erik Spiekermann

Erik Spiekermann

“Nobody can make complex problems simple, but designers can at least make them accessible.”

Poster printed letterpress from wood type at p98a

p98a is an experimental letterpress workshop in Berlin Tiergarten, dedicated to letters, printing and paper. We explore how letterpress can be redefined in the 21st century.

Erik Spiekermann

Graphic Design Berlin • London • San Francisco

25

What is your next big project?

A book about the design work we did for the BVG (Berlin Transit) for a new passenger information system when the two halves of Berlin were reunited in 1990.

We’re also printing an online newspaper (krautreporter.de) in large format on our giant Johannisberger press, reversing the trend from analogue to digital.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

Be curious and learn. I would have liked to write proper proposals and invoices when I started.

Today, more than ever, what does honest design mean to you?

Once you take on a project, you have to be 100% loyal to the client.

If you disagree with what they do, don’t do it. If you need the money badly, admit it. But never do free pitches. Our ideas are our capital; do not give it away for free. Clients who ask for free work will never be good clients because they start off by undervaluing our work.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

It is not important, but it happens.

As long as your words and your actions align, you can be an example. I am very proud that I have worked with more than 600 people as employees, colleagues, partners over the past 50 years or so: I remember most of them and they keep in touch.

The Spiekermann community is what I leave behind. Apart from a few dozen printing presses and lots of digital typefaces.

Your work pays your bills, but how do you stay excited about your chosen path?

By surrounding myself with good people who have talents I do not possess. Keeps me learning.

FF Meta house-numbers, 2008

Where do you look for magic these days?

In my head and all around me (be curious).

Passenger information system for BVG; Berlin Transit, 1990–1994

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

Show them what a better solution would look like. Don’t expect nondesigners to understand you, when you explain an idea. Show it.

Failure is giving up.

Good design is the intersection of aesthetics and function.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your respective field?

Be honest. Apply our knowledge to worthy projects. I am involved in thinking about the future of our cities, of transport (I am a cyclist and think that automatic cars are rubbish), of how we use our buildings and how we own and share them. Designers have a great talent: We can visualise processes and manifest thoughts and ideas.

That talent can help find our way through complexity. Nobody can make complex problems simple, but designers can at least make them accessible.

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

That answer would be too long to do the question justice. See above : complex problems cannot be made simple.

Seven books printed letterpress from digital plates, Suhrkamp Letterpress, 2017

Erik Spiekermann

Erik Spiekermann

It’s been a few years since you’ve been in Luxembourg, what have you been up to in the time since?

I started a workshop to research post-digital printing. Finding out how letterpress printing and hand-setting type can be relevant today. We’re making plates from digital data and printing them on old analogue presses from the 1920s and 1950s. We’re also making our own large type with CNC machines, laser-cutters and 3D printing. We have a large collection of machines and equipment. Our motto is Preservation through Production.

I also design books and do other projects with small budgets because I have officially been retired since 2014. I occasionally get involved in projects with my former agency, Edenspiekermann, where I am now the Chairman of the Supervisory Board.

25

How would you define timeless design?

It has to be so boring today that it will still be boring in 10 years’ time.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Early sketch for the FF Meta typeface, 1985

Letterpresso coffee from p98a (served in the workshop)

25

What is your next big project?

A book about the design work we did for the BVG (Berlin Transit) for a new passenger information system when the two halves of Berlin were reunited in 1990.

We’re also printing an online newspaper (krautreporter.de) in large format on our giant Johannisberger press, reversing the trend from analogue to digital.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

Be curious and learn. I would have liked to write proper proposals and invoices when I started.

Today, more than ever, what does honest design mean to you?

Once you take on a project, you have to be 100% loyal to the client.

If you disagree with what they do, don’t do it. If you need the money badly, admit it. But never do free pitches. Our ideas are our capital; do not give it away for free. Clients who ask for free work will never be good clients because they start off by undervaluing our work.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

It is not important, but it happens.

As long as your words and your actions align, you can be an example. I am very proud that I have worked with more than 600 people as employees, colleagues, partners over the past 50 years or so: I remember most of them and they keep in touch.

The Spiekermann community is what I leave behind. Apart from a few dozen printing presses and lots of digital typefaces.

Your work pays your bills, but how do you stay excited about your chosen path?

By surrounding myself with good people who have talents I do not possess. Keeps me learning.

FF Meta house-numbers, 2008

Where do you look for magic these days?

In my head and all around me (be curious).

Passenger information system for BVG; Berlin Transit, 1990–1994

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

Show them what a better solution would look like. Don’t expect nondesigners to understand you, when you explain an idea. Show it.

Failure is giving up.

Good design is the intersection of aesthetics and function.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your respective field?

Be honest. Apply our knowledge to worthy projects. I am involved in thinking about the future of our cities, of transport (I am a cyclist and think that automatic cars are rubbish), of how we use our buildings and how we own and share them. Designers have a great talent: We can visualise processes and manifest thoughts and ideas.

That talent can help find our way through complexity. Nobody can make complex problems simple, but designers can at least make them accessible.

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

That answer would be too long to do the question justice. See above : complex problems cannot be made simple.

Seven books printed letterpress from digital plates, Suhrkamp Letterpress, 2017

Erik Spiekermann

Erik Spiekermann

It’s been a few years since you’ve been in Luxembourg, what have you been up to in the time since?

I started a workshop to research post-digital printing. Finding out how letterpress printing and hand-setting type can be relevant today. We’re making plates from digital data and printing them on old analogue presses from the 1920s and 1950s. We’re also making our own large type with CNC machines, laser-cutters and 3D printing. We have a large collection of machines and equipment. Our motto is Preservation through Production.

I also design books and do other projects with small budgets because I have officially been retired since 2014. I occasionally get involved in projects with my former agency, Edenspiekermann, where I am now the Chairman of the Supervisory Board.

25

How would you define timeless design?

It has to be so boring today that it will still be boring in 10 years’ time.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Early sketch for the FF Meta typeface, 1985

Letterpresso coffee from p98a (served in the workshop)

24 Bruce Duckworth

Bruce Duckworth

“As long as there are interesting problems, there are interesting creative opportunities and that’s my motivation.”

Album Cover of Hardwired to… Self-Destruct (Metallica), 2016

Using photography assets shot by Herring & Herring, they created a superimposed image of the band’s headshots, conveying the idea of “destiny pre-determined” despite the self-struggle, an underlying theme for the album.

Bruce Duckworth

Packaging Design San Francisco • London

24 Bruce Duckworth

Bruce Duckworth

“As long as there are interesting problems, there are interesting creative opportunities and that’s my motivation.”

Album Cover of Hardwired to… Self-Destruct (Metallica), 2016

Using photography assets shot by Herring & Herring, they created a superimposed image of the band’s headshots, conveying the idea of “destiny pre-determined” despite the self-struggle, an underlying theme for the album.

Bruce Duckworth

Packaging Design San Francisco • London

24

What is your next big project?

We are now working on HSBC, which is a huge project. It’s started to come out and we should see it everywhere by October this year.

Which designer should we invite next?

During my D&AD Presidency I met many amazing, creative people.

One of my highlights was meeting

Subway Visual Identity (in collaboration with Anna Keville Joyce), 2017

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

It’s very important to inspire people to want to do great work because it raises the standard of creativity in every part of our lives. It’s important to be generous with your time and advice to help those on the way up. I’d like to be remembered for being fair to people and for the integrity of my work.

Where do you look for magic these days?

Inspiration comes from being fully immersed in a project.

If you are consumed by the brief then everywhere you look you see possibilities for solutions.

Good design is the intersection of the functional and the surprising.

On the importance or relevance of storytelling: Designers are often system thinkers and advertising creatives are often narrative thinkers. The combination of the two makes brands have depth and clarity. Both are essential.

How would you define timeless design?

Timeless design transcends trends by relying on smart thinking and faultless craft.

D&AD Signage, 2016

Failure is putting your designer ego before your clients’ problem.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

Challenge viewers’ perception by making what has gone before look ill considered, stand out by being creatively excellent.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

The advice I’d give a junior designer just starting out is to be optimistic about every opportunity. Some of my most awarded work is for projects that didn’t look like creative opportunities when we started them but with optimism and determination they became award-winning projects.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

Yes, it’s hard to think of a modern, successful brand that is not putting design at the centre of the experience.

Your work pays your bills, but how do you stay excited about your chosen path?

Money has never been my sole motivation. Every time I meet any client who has a problem I want to fix it for them. As long as there are interesting problems, there are interesting creative opportunities and that’s my motivation.

Bruce Duckworth

Bruce Duckworth

When you gave your talk for Design Friends was that your first time in Luxembourg?

I enjoyed my visit to Luxembourg.

I’d never been before and it reinforced how culturally interesting Europe is. The UK is finding a different path now, which is a great regret for me.

Oliviero Toscano. He presented a D&AD Presidents lecture and is an amazing visual thinker. He’d be fantastic to do a lecture for you.

© Marion Luttenberger

It’s been 4 years since you’ve come to Luxembourg, what have you been up to in the time since?

Since I spoke in Luxembourg I’ve been designing interesting projects for Burger King, HSBC Bank and Coors Light Beer. I’ve also spent a year as the President of D&AD, which was an amazing honour and a fantastic experience.

24

24

What is your next big project?

We are now working on HSBC, which is a huge project. It’s started to come out and we should see it everywhere by October this year.

Which designer should we invite next?

During my D&AD Presidency I met many amazing, creative people.

One of my highlights was meeting

Subway Visual Identity (in collaboration with Anna Keville Joyce), 2017

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

It’s very important to inspire people to want to do great work because it raises the standard of creativity in every part of our lives. It’s important to be generous with your time and advice to help those on the way up. I’d like to be remembered for being fair to people and for the integrity of my work.

Where do you look for magic these days?

Inspiration comes from being fully immersed in a project.

If you are consumed by the brief then everywhere you look you see possibilities for solutions.

Good design is the intersection of the functional and the surprising.

On the importance or relevance of storytelling: Designers are often system thinkers and advertising creatives are often narrative thinkers. The combination of the two makes brands have depth and clarity. Both are essential.

How would you define timeless design?

Timeless design transcends trends by relying on smart thinking and faultless craft.

D&AD Signage, 2016

Failure is putting your designer ego before your clients’ problem.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

Challenge viewers’ perception by making what has gone before look ill considered, stand out by being creatively excellent.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

The advice I’d give a junior designer just starting out is to be optimistic about every opportunity. Some of my most awarded work is for projects that didn’t look like creative opportunities when we started them but with optimism and determination they became award-winning projects.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

Yes, it’s hard to think of a modern, successful brand that is not putting design at the centre of the experience.

Your work pays your bills, but how do you stay excited about your chosen path?

Money has never been my sole motivation. Every time I meet any client who has a problem I want to fix it for them. As long as there are interesting problems, there are interesting creative opportunities and that’s my motivation.

Bruce Duckworth

Bruce Duckworth

When you gave your talk for Design Friends was that your first time in Luxembourg?

I enjoyed my visit to Luxembourg.

I’d never been before and it reinforced how culturally interesting Europe is. The UK is finding a different path now, which is a great regret for me.

Oliviero Toscano. He presented a D&AD Presidents lecture and is an amazing visual thinker. He’d be fantastic to do a lecture for you.

© Marion Luttenberger

It’s been 4 years since you’ve come to Luxembourg, what have you been up to in the time since?

Since I spoke in Luxembourg I’ve been designing interesting projects for Burger King, HSBC Bank and Coors Light Beer. I’ve also spent a year as the President of D&AD, which was an amazing honour and a fantastic experience.

24

23 Paul Priestman

“I still have the same enthusiasm for working out problemsand thinking of solutions to make life better.�

Dragonfly Drone (delivery concept by PriestmanGoode)

Paul Priestman

Transportation Design London

23 Paul Priestman

“I still have the same enthusiasm for working out problemsand thinking of solutions to make life better.�

Dragonfly Drone (delivery concept by PriestmanGoode)

Paul Priestman

Transportation Design London

23 It’s been 4 years since you’ve been in Luxembourg, what have you been up to in the time since?

The past four years have been an exciting period of growth for PriestmanGoode, we have continued to work for major airlines such as United and Qatar Airways, alongside some great rail projects for OBB and CRRC Sifang, as well as some ground-breaking concepts for Hyperloop and most recently, our own delivery drone project, Dragonfly. As a company, we became employee-owned two years ago when myself and the other founding directors sold a majority share of the company to the employees; this has been such a positive step in guaranteeing the future of the company beyond

23 its founding individuals and it’s rewarding to share the success of the company with the team.

Our commodity is the skill of those who work for us and so it seems fitting to value and reward the team in this way.

When you gave your talk for Design Friends was that your first time in Luxembourg?

Yes, but I was particularly impressed by the design sophistication of Luxembourg, the knowledge and talent.

Where do you look for magic these days?

Every day life, travelling to work.

Nature — I love to spend time outside in Northumberland where

I have planted a woodland — the time I spend there gives me space to think; it is so remote and exposed to the elements that life is focused on getting the basics right, the house there is an old farm, it’s been a carbon neutral project and is completely off-grid.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I feel passionate about communicating the value of design and inspiring young designers through our work with the National Saturday Club for 14-16 year olds and programmes with the Design

Museum. We have a yearlong internship programme with Loughborough University, which prepares undergraduate design students for the workplace.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your field?

Designing with access for all (Air Access/Scooter for Life) and combating congestion in order to reduce pollution; the effects of which I see frequently when travelling all over the world.

New Tube for London (designed with Transport for London)

Paul Priestman

How would you define timeless design?

Simple, effective ideas, fulfilling a need, which may or may not have been identified previously.

Failure is very important and

shouldn’t be seen in a negative way.

A failure can be a building block of your next successful product.

We learn, gain insights and improve through failure to deliver better, more relevant, products and experiences.

Hyperloop Passenger Capsule for Hyperloop Transportation Technologies

The Hyperloop Passenger Capsule is a system that moves people and goods at unprecedented speeds safely, efficiently, and sustainably.

Your work pays your bills, but how do you stay excited about your chosen path?

I’m always interested in what’s next, be it working in cruise ship design or on Hyperloop. I still have the same enthusiasm for working out problems and thinking of solutions to make life better.

Paul Priestman

Good design is the intersection of great ideas and responding to an identified need.

23 It’s been 4 years since you’ve been in Luxembourg, what have you been up to in the time since?

The past four years have been an exciting period of growth for PriestmanGoode, we have continued to work for major airlines such as United and Qatar Airways, alongside some great rail projects for OBB and CRRC Sifang, as well as some ground-breaking concepts for Hyperloop and most recently, our own delivery drone project, Dragonfly. As a company, we became employee-owned two years ago when myself and the other founding directors sold a majority share of the company to the employees; this has been such a positive step in guaranteeing the future of the company beyond

23 its founding individuals and it’s rewarding to share the success of the company with the team.

Our commodity is the skill of those who work for us and so it seems fitting to value and reward the team in this way.

When you gave your talk for Design Friends was that your first time in Luxembourg?

Yes, but I was particularly impressed by the design sophistication of Luxembourg, the knowledge and talent.

Where do you look for magic these days?

Every day life, travelling to work.

Nature — I love to spend time outside in Northumberland where

I have planted a woodland — the time I spend there gives me space to think; it is so remote and exposed to the elements that life is focused on getting the basics right, the house there is an old farm, it’s been a carbon neutral project and is completely off-grid.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I feel passionate about communicating the value of design and inspiring young designers through our work with the National Saturday Club for 14-16 year olds and programmes with the Design

Museum. We have a yearlong internship programme with Loughborough University, which prepares undergraduate design students for the workplace.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your field?

Designing with access for all (Air Access/Scooter for Life) and combating congestion in order to reduce pollution; the effects of which I see frequently when travelling all over the world.

New Tube for London (designed with Transport for London)

Paul Priestman

How would you define timeless design?

Simple, effective ideas, fulfilling a need, which may or may not have been identified previously.

Failure is very important and

shouldn’t be seen in a negative way.

A failure can be a building block of your next successful product.

We learn, gain insights and improve through failure to deliver better, more relevant, products and experiences.

Hyperloop Passenger Capsule for Hyperloop Transportation Technologies

The Hyperloop Passenger Capsule is a system that moves people and goods at unprecedented speeds safely, efficiently, and sustainably.

Your work pays your bills, but how do you stay excited about your chosen path?

I’m always interested in what’s next, be it working in cruise ship design or on Hyperloop. I still have the same enthusiasm for working out problems and thinking of solutions to make life better.

Paul Priestman

Good design is the intersection of great ideas and responding to an identified need.

22

Mirko Borsche

Editorial Design Munich

© Fritz Beck

Mirko Borsche

Mirko Borsche

“I do believe that if there isn’t some kind of meaning or heritage to any design, people will notice the vacancy and it will not feel right.”

Nike React Instant Bounce

22

Mirko Borsche

Editorial Design Munich

© Fritz Beck

Mirko Borsche

Mirko Borsche

“I do believe that if there isn’t some kind of meaning or heritage to any design, people will notice the vacancy and it will not feel right.”

Nike React Instant Bounce

It’s been a few years since you’ve been to Luxembourg, what have you been up to since then?

Since my last visit to Luxembourg a lot has happened in the office.

We have had some great opportunities working on new fascinating projects with clients like Givenchy, Nike, Rimowa and Balenciaga. Besides that we continue our work with ongoing clients. We have had a great season with the Bavarian States Opera, which has been our client since 2009. Superpaper is now at issue no. 100 and after all these years it is still exciting for us to work on it.

But even the most amazing looking layouts can lose their impact and value, if it’s not fitting.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

When I first started working as an art director I was at a big advertising agency for a long time.

It took me some time to really figure out what I wanted to do, to even be sure what I wanted my goals to be. It’s important to keep in mind that you shouldn’t spend most of the days in the week at a job where you’re not at least 80% happy. So, make up your mind, take a risk and focus on your goals.

When you gave your talk for Design Friends was that your first time in Luxembourg?

What were your impressions?

It’s quite difficult for me to get out of the office and, usually, when I’m doing talks or meetings I don’t see much of any city. Luckily, I had some spare time before the talk to enjoy this beautiful city. I had to leave Luxembourg shortly after the talk, but I am looking forward to exploring the city more in the near future.

What is your next big project?

At the moment I am focusing on the new identity for the upcoming season of the Bavarian States Opera.

We start concept-building for every season in the summertime, also trying to anticipate the intensity of the whole city of Munich being covered with our work for the client the entire season. We live in a “short attention span” world… I’m part of it and so is everyone I’m working with, so naturally we play into this, consciously and subconsciously.

There is this constant need to capture attention, so yes, aesthetics play a big role in achieving this. But I do believe that if there isn’t some kind of meaning or heritage to any design, people will notice the vacancy, and it will not feel right.

On the importance or relevance of storytelling: I think the whole design process can be seen as storytelling. It’s good when you look at any of the projects

them happy. Creative jobs can be satisfying; you’re basically self-exploring on a daily basis, which is not the case in many other professions. Everyone has their own unique creative process.

What are the big trends you have observed in your particular field?

I feel that there has been a crazy experimentation with typography.

Not only the use or manipulation of well known — historic or contemporary typefaces — but also the trend of designers producing their own typefaces, which are either tailored for a client, fictional use or just for the fun of it. So, I see a lot of young designers diving into the field of type design, tweaking typefaces and pushing it to new limits.

Failure is something that has to happen.

Zeit Magazin

we’ve done and you’re able to trace back the steps we made to come to that design and see every decision we made. We like to stay away from being arbitrary and focus on the story we want to tell.

The multiple award-winning Zeit Magazin is supplement to the weekly Die Zeit. Commonly coined as general interest, the Zeit Magazin’s pages often dive into the nitty-gritty of politics, fashion, art, design, music, and literature.

Good design is the intersection of storytelling and aesthetics.

Today more than ever, what does honest design mean to you?

It’s all about the idea that leads to the design. The Internet confronts you with graphics and information in an endless flow every day and there are so many great-looking projects and designers out there.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I don’t go out and do design with the incentive to inspire people but when people come up to me and say I inspire them, it’s a very big honour. We must be doing something right then. For now I feel it’s too early to think about my legacy, I feel like I have so many more years ahead of me. Maybe we can talk about how I would like my legacy to be remembered in a few years.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

I think we’re living in a time where everyone is more set on doing something they actually want to do, something that makes

How would you define timeless design?

When we are working on a project we don’t try to think that much about the timelessness. Timeless design for us, right now, is trying to stay ahead of the curve, meaning; will we hate this in 5 years?

I don’t think there’s anything wrong with playing into trends.

In a way you’re working towards a specific aesthetic in time and making a mark. Maybe we’ll be looking back in 10 years and taking something from what we’re doing right now.

Where do you look for magic these days?

It has become such a natural process, especially when you have a creative team; all with a built-in archive of references, experiences, skills. Conveniently, a lot of magic that is inspiring comes to us nowadays through online feeds.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current

depressing climate: If you were given the mission to save the world, how would you go about doing it through your respective field? (I don’t mean in a superhero kind of way — though why not if that is something you fantasise about — but rather a way to focus attention, or provoke, or bring about grand-scale change.)

As graphic designers we can use our means to provoke change by creating alertness among people, which can be a great position to be in. Within our design practice we, unfortunately, don’t always find the time or autonomy to put this into action. Mostly, these kinds of projects are presented to us with good intentions by the initiator(s) where our role is to communicate as best we can.

A good example is a project we did with a photographer, combining nude photography and relevant news to playfully integrate awareness (flashednews.com). To be honest the world seems too big and complex of a place to save. Luckily, there are some great designers who have more capability to fire up change.

As a designer I have accumulated a respectable amount of online following, so on a personal level this gives me an opportunity to share things online and to lend a voice to social issues.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

In most cases the viewer will only see the final result of our project but in order to arrive to that point we play with so many different interesting, crazy ideas and concepts that are really untraditional.

We try to push our clients towards these concepts that play with viewers’ perceptions, but of course sometimes it isn’t appropriate.

Your work pays your bills, but how do you stay excited about your chosen path?

When you’re constantly surrounded by cool people doing cool stuff, staying excited comes naturally.

Mirko Borsche

Mirko Borsche

22

22

It’s been a few years since you’ve been to Luxembourg, what have you been up to since then?

Since my last visit to Luxembourg a lot has happened in the office.

We have had some great opportunities working on new fascinating projects with clients like Givenchy, Nike, Rimowa and Balenciaga. Besides that we continue our work with ongoing clients. We have had a great season with the Bavarian States Opera, which has been our client since 2009. Superpaper is now at issue no. 100 and after all these years it is still exciting for us to work on it.

But even the most amazing looking layouts can lose their impact and value, if it’s not fitting.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

When I first started working as an art director I was at a big advertising agency for a long time.

It took me some time to really figure out what I wanted to do, to even be sure what I wanted my goals to be. It’s important to keep in mind that you shouldn’t spend most of the days in the week at a job where you’re not at least 80% happy. So, make up your mind, take a risk and focus on your goals.

When you gave your talk for Design Friends was that your first time in Luxembourg?

What were your impressions?

It’s quite difficult for me to get out of the office and, usually, when I’m doing talks or meetings I don’t see much of any city. Luckily, I had some spare time before the talk to enjoy this beautiful city. I had to leave Luxembourg shortly after the talk, but I am looking forward to exploring the city more in the near future.

What is your next big project?

At the moment I am focusing on the new identity for the upcoming season of the Bavarian States Opera.

We start concept-building for every season in the summertime, also trying to anticipate the intensity of the whole city of Munich being covered with our work for the client the entire season. We live in a “short attention span” world… I’m part of it and so is everyone I’m working with, so naturally we play into this, consciously and subconsciously.

There is this constant need to capture attention, so yes, aesthetics play a big role in achieving this. But I do believe that if there isn’t some kind of meaning or heritage to any design, people will notice the vacancy, and it will not feel right.

On the importance or relevance of storytelling: I think the whole design process can be seen as storytelling. It’s good when you look at any of the projects

them happy. Creative jobs can be satisfying; you’re basically self-exploring on a daily basis, which is not the case in many other professions. Everyone has their own unique creative process.

What are the big trends you have observed in your particular field?

I feel that there has been a crazy experimentation with typography.

Not only the use or manipulation of well known — historic or contemporary typefaces — but also the trend of designers producing their own typefaces, which are either tailored for a client, fictional use or just for the fun of it. So, I see a lot of young designers diving into the field of type design, tweaking typefaces and pushing it to new limits.

Failure is something that has to happen.

Zeit Magazin

we’ve done and you’re able to trace back the steps we made to come to that design and see every decision we made. We like to stay away from being arbitrary and focus on the story we want to tell.

The multiple award-winning Zeit Magazin is supplement to the weekly Die Zeit. Commonly coined as general interest, the Zeit Magazin’s pages often dive into the nitty-gritty of politics, fashion, art, design, music, and literature.

Good design is the intersection of storytelling and aesthetics.

Today more than ever, what does honest design mean to you?

It’s all about the idea that leads to the design. The Internet confronts you with graphics and information in an endless flow every day and there are so many great-looking projects and designers out there.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I don’t go out and do design with the incentive to inspire people but when people come up to me and say I inspire them, it’s a very big honour. We must be doing something right then. For now I feel it’s too early to think about my legacy, I feel like I have so many more years ahead of me. Maybe we can talk about how I would like my legacy to be remembered in a few years.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

I think we’re living in a time where everyone is more set on doing something they actually want to do, something that makes

How would you define timeless design?

When we are working on a project we don’t try to think that much about the timelessness. Timeless design for us, right now, is trying to stay ahead of the curve, meaning; will we hate this in 5 years?

I don’t think there’s anything wrong with playing into trends.

In a way you’re working towards a specific aesthetic in time and making a mark. Maybe we’ll be looking back in 10 years and taking something from what we’re doing right now.

Where do you look for magic these days?

It has become such a natural process, especially when you have a creative team; all with a built-in archive of references, experiences, skills. Conveniently, a lot of magic that is inspiring comes to us nowadays through online feeds.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current

depressing climate: If you were given the mission to save the world, how would you go about doing it through your respective field? (I don’t mean in a superhero kind of way — though why not if that is something you fantasise about — but rather a way to focus attention, or provoke, or bring about grand-scale change.)

As graphic designers we can use our means to provoke change by creating alertness among people, which can be a great position to be in. Within our design practice we, unfortunately, don’t always find the time or autonomy to put this into action. Mostly, these kinds of projects are presented to us with good intentions by the initiator(s) where our role is to communicate as best we can.

A good example is a project we did with a photographer, combining nude photography and relevant news to playfully integrate awareness (flashednews.com). To be honest the world seems too big and complex of a place to save. Luckily, there are some great designers who have more capability to fire up change.

As a designer I have accumulated a respectable amount of online following, so on a personal level this gives me an opportunity to share things online and to lend a voice to social issues.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

In most cases the viewer will only see the final result of our project but in order to arrive to that point we play with so many different interesting, crazy ideas and concepts that are really untraditional.

We try to push our clients towards these concepts that play with viewers’ perceptions, but of course sometimes it isn’t appropriate.

Your work pays your bills, but how do you stay excited about your chosen path?

When you’re constantly surrounded by cool people doing cool stuff, staying excited comes naturally.

Mirko Borsche

Mirko Borsche

22

22

Christophe Pillet

Christophe Pillet

© Andrea Ferrari

21

Christophe Pillet Product Design Paris

Memory Lane Chair for Tacchini, 2018

“We try to find new solutions, new ideas and a new way to harmonise the way we live with our environment.

It’s not just about matching the carpet and the wallpaper. It’s really about finding new behavioural solutions.”

Christophe Pillet

Christophe Pillet

© Andrea Ferrari

21

Christophe Pillet Product Design Paris

Memory Lane Chair for Tacchini, 2018

“We try to find new solutions, new ideas and a new way to harmonise the way we live with our environment.

It’s not just about matching the carpet and the wallpaper. It’s really about finding new behavioural solutions.”

21

What tips would you give to aspiring designers seeking a start in your particular field?

It’s always difficult to give advice.

I am not sure I am the right person to be doing that. I am not a teacher.

Of course, I am mature, not to say I am old… but maybe the only advice I have is not to listen to other people. I think what we need in design are new, fresh, honest, individual ideas. Not one more thing in the endless sea of products.

You will find a lot of people who will say, you should do this, and you should do that. Just trust yourself and just do things exactly the way you want.

Honesty and longevity are the two values that we should work on today. Honest design is a quest.

It’s not based on consumption or mediatisation. It meets the real needs of people, whether sensual or psychological. We don’t have any obligation to be 100% honest, because design is also partly seduction; seduction is about playing with honesty. I don’t think it’s necessary to design more stuff, if this stuff is not for the honest needs and expectations of people to live a different life. All the rest is just blabla and we have enough blabla around us.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

This is too heavy for me. I don’t think about legacy, that’s not why I do this work. I was not supposed to be a designer. I started doing this randomly. I do it like a tourist.

It’s not my world, so I am visiting this curious world of design. I am working hard. What’s important with people is not disappointing them, so I am not looking for posterity. Not disappointing people is already a heavy enough load to carry.

Where do you look for magic?

Is it within this learning and discovery process?

The magic lies in the fact that design for me is a matter of people, more than a matter of product. So, what I am looking for now is not just creating more things, but meeting more creative and ambitious people and having a vision together.

© Guillaume Grasset

You are present in America, Russia, Europe, how is the approach to hotel design different in all of these places?

It’s more or less the same, but what’s important is that people want a sense of curiosity.

They don’t want formatted designs.

They expect me to do something very specific to their request, something very new. We have two groups of clients in hotels, big groups like Accor which are formatted — and they expect us to bring them out of this formatting with fresh and alternative ideas, the other group includes new and smaller groups, usually developers, though not necessarily smaller scaled hotels. They really want to be alternative, and have something that does not exist on the planet.

We try to find new solutions, new ideas and a new way to harmonise the way we live with our environment. It’s not just about matching the carpet and the wallpaper. It’s really about finding new behavioural solutions.

What would you have liked to know when you first started working?

Well, I still feel that way now.

That’s what I like about this job.

There are two elements, there is the project itself and then there is the completion phase and I am not very interested in the latter.

Once it’s done, it’s done and it belongs to the market. The reason why I like the project phase is because you start from nothing and you build something and in the process you are constantly learning. All the projects I choose are because I don’t know the field in which I am going to operate and they allow me to spend one or two years learning. For me it’s not a job, it’s a way of living. Learning for me is the core interest of being a designer.

Maison Christofle (Paris), 2017

Today more than ever, what does honest design mean to you?

It’s one essential value. The world is more and more fake and artificial.

You have an image of something and the reality is different.

So, we need human honesty at the highest philosophical level.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your field?

You are talking about a mission and I don’t feel like I have a mission.

I am very happy to be a designer, but again I was not targeting this work.

I never had any plans or goals.

I am just a “promeneur”.

What I try to do honestly is just describing or illustrating the environment of the people in relation to their expectation to live new models. This is what I am doing. I am not inventing a new world. I am not innovating into new behaviours.

The Bodrum Edition-Hotel (Turkey), 2018

A lot of times we listen to designers who want to change the world, but we can’t change the world designing a new spoon.

What we can do is to make people happy with a new kind of spoon in adequation to their expectation.

I wouldn’t want that mission otherwise and it is not through lack of ambition, it’s just because if I wanted to change the world I would take up other means.

Design doesn’t change the world; it just fixes people’s disappointments.

has gone so fast that newness doesn’t give us any value.

Now, we are looking for things that are lasting in 20 years time.

We want to live a more ambitious moment in life.

In that case, how would you define timeless design?

It’s a quest, a mission. There is no recipe for that. It’s also virgin territory because we have all been programmed to do new things.

There is no common model for it.

Good design is the intersection of good people and ambitious ideas.

What are the big trends you have observed in your particular field?

I have two systematic concerns with such questions. The first one is that I don’t believe in trends.

If you go to the Milano Design Fair to observe trends for example you will see everything and the opposite.

I believe in aspirations, not stylistic trends. We just want longer lasting values. We don’t want things that are good or right for just a couple of minutes or days.

All our consumption of products, spaces was based on this modernistic idea of the new. The supremacy of the new. All old things need to be thrown away and we want new, new, new things. But this tendency

Honesty, humility and ambition in its vision are all necessary ingredients. It’s about finding things that are more essential and substantial than the appearance of things, going into the depth of products. But I don’t know, I am still searching.

It’s what makes you improve.

On the importance or relevance of storytelling: Of course, this is for me the definition of design today.

The need for design is different today. We don’t buy things out of necessity anymore (I am talking about rich western societies), we have everything and everything is working well, so we don’t need to change. We buy because we have a desire for things.

The desire is the intimate relation between an object and a person, and I really believe that the job I am doing is storytelling. I am doing exactly what a moviemaker or storyteller is doing. I am using objects to tell my story. I am not inventing a chair. The chair with four legs, a backrest and a seat has existed for hundreds of years.

I am using a chair as a medium for telling my story. I am using my vocabulary, which is shapes, colours, objects to put on a chair and write my story. Without telling the story, the product does not exist.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

It’s necessary. There is no need to do new things if there is no challenge. If you don’t offer people a new point of view. It’s the only motivation for doing things.

Designing a new chair means that you put in front of people a challenge by presenting to them a new way of living from what they are used to. It’s the only vector in doing something different.

Your work pays your bills, but how do you stay excited about your chosen path?

In the creative fields, we are all idealistic people and we never achieve our ideal target. The ideal

Failure is part of the game.

I am not afraid of failing; it’s part of winning. If you don’t fail, you don’t win. So it’s also positive.

There are more chances to fail than to succeed, so that’s part of your every day life.

is ever elusive so you want to try again and again to get closer and closer to that ideal. It’s ridiculous but it’s a substantial human quality. People always want to try to go beyond the horizon.

Christophe Pillet

Christophe Pillet

What have you been up to since you gave your talk in Luxembourg?

I have been constantly travelling.

We have done many projects but our main activity since then has been doing hotels, hotels and more hotels. These include big and small projects around the world. We are also still designing furniture and residential spaces in North Africa.

21

21

What tips would you give to aspiring designers seeking a start in your particular field?

It’s always difficult to give advice.

I am not sure I am the right person to be doing that. I am not a teacher.

Of course, I am mature, not to say I am old… but maybe the only advice I have is not to listen to other people. I think what we need in design are new, fresh, honest, individual ideas. Not one more thing in the endless sea of products.

You will find a lot of people who will say, you should do this, and you should do that. Just trust yourself and just do things exactly the way you want.

Honesty and longevity are the two values that we should work on today. Honest design is a quest.

It’s not based on consumption or mediatisation. It meets the real needs of people, whether sensual or psychological. We don’t have any obligation to be 100% honest, because design is also partly seduction; seduction is about playing with honesty. I don’t think it’s necessary to design more stuff, if this stuff is not for the honest needs and expectations of people to live a different life. All the rest is just blabla and we have enough blabla around us.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

This is too heavy for me. I don’t think about legacy, that’s not why I do this work. I was not supposed to be a designer. I started doing this randomly. I do it like a tourist.

It’s not my world, so I am visiting this curious world of design. I am working hard. What’s important with people is not disappointing them, so I am not looking for posterity. Not disappointing people is already a heavy enough load to carry.

Where do you look for magic?

Is it within this learning and discovery process?

The magic lies in the fact that design for me is a matter of people, more than a matter of product. So, what I am looking for now is not just creating more things, but meeting more creative and ambitious people and having a vision together.

© Guillaume Grasset

You are present in America, Russia, Europe, how is the approach to hotel design different in all of these places?

It’s more or less the same, but what’s important is that people want a sense of curiosity.

They don’t want formatted designs.

They expect me to do something very specific to their request, something very new. We have two groups of clients in hotels, big groups like Accor which are formatted — and they expect us to bring them out of this formatting with fresh and alternative ideas, the other group includes new and smaller groups, usually developers, though not necessarily smaller scaled hotels. They really want to be alternative, and have something that does not exist on the planet.

We try to find new solutions, new ideas and a new way to harmonise the way we live with our environment. It’s not just about matching the carpet and the wallpaper. It’s really about finding new behavioural solutions.

What would you have liked to know when you first started working?

Well, I still feel that way now.

That’s what I like about this job.

There are two elements, there is the project itself and then there is the completion phase and I am not very interested in the latter.

Once it’s done, it’s done and it belongs to the market. The reason why I like the project phase is because you start from nothing and you build something and in the process you are constantly learning. All the projects I choose are because I don’t know the field in which I am going to operate and they allow me to spend one or two years learning. For me it’s not a job, it’s a way of living. Learning for me is the core interest of being a designer.

Maison Christofle (Paris), 2017

Today more than ever, what does honest design mean to you?

It’s one essential value. The world is more and more fake and artificial.

You have an image of something and the reality is different.

So, we need human honesty at the highest philosophical level.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your field?

You are talking about a mission and I don’t feel like I have a mission.

I am very happy to be a designer, but again I was not targeting this work.

I never had any plans or goals.

I am just a “promeneur”.

What I try to do honestly is just describing or illustrating the environment of the people in relation to their expectation to live new models. This is what I am doing. I am not inventing a new world. I am not innovating into new behaviours.

The Bodrum Edition-Hotel (Turkey), 2018

A lot of times we listen to designers who want to change the world, but we can’t change the world designing a new spoon.

What we can do is to make people happy with a new kind of spoon in adequation to their expectation.

I wouldn’t want that mission otherwise and it is not through lack of ambition, it’s just because if I wanted to change the world I would take up other means.

Design doesn’t change the world; it just fixes people’s disappointments.

has gone so fast that newness doesn’t give us any value.

Now, we are looking for things that are lasting in 20 years time.

We want to live a more ambitious moment in life.

In that case, how would you define timeless design?

It’s a quest, a mission. There is no recipe for that. It’s also virgin territory because we have all been programmed to do new things.

There is no common model for it.

Good design is the intersection of good people and ambitious ideas.

What are the big trends you have observed in your particular field?

I have two systematic concerns with such questions. The first one is that I don’t believe in trends.

If you go to the Milano Design Fair to observe trends for example you will see everything and the opposite.

I believe in aspirations, not stylistic trends. We just want longer lasting values. We don’t want things that are good or right for just a couple of minutes or days.

All our consumption of products, spaces was based on this modernistic idea of the new. The supremacy of the new. All old things need to be thrown away and we want new, new, new things. But this tendency

Honesty, humility and ambition in its vision are all necessary ingredients. It’s about finding things that are more essential and substantial than the appearance of things, going into the depth of products. But I don’t know, I am still searching.

It’s what makes you improve.

On the importance or relevance of storytelling: Of course, this is for me the definition of design today.

The need for design is different today. We don’t buy things out of necessity anymore (I am talking about rich western societies), we have everything and everything is working well, so we don’t need to change. We buy because we have a desire for things.

The desire is the intimate relation between an object and a person, and I really believe that the job I am doing is storytelling. I am doing exactly what a moviemaker or storyteller is doing. I am using objects to tell my story. I am not inventing a chair. The chair with four legs, a backrest and a seat has existed for hundreds of years.

I am using a chair as a medium for telling my story. I am using my vocabulary, which is shapes, colours, objects to put on a chair and write my story. Without telling the story, the product does not exist.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

It’s necessary. There is no need to do new things if there is no challenge. If you don’t offer people a new point of view. It’s the only motivation for doing things.

Designing a new chair means that you put in front of people a challenge by presenting to them a new way of living from what they are used to. It’s the only vector in doing something different.

Your work pays your bills, but how do you stay excited about your chosen path?

In the creative fields, we are all idealistic people and we never achieve our ideal target. The ideal

Failure is part of the game.

I am not afraid of failing; it’s part of winning. If you don’t fail, you don’t win. So it’s also positive.

There are more chances to fail than to succeed, so that’s part of your every day life.

is ever elusive so you want to try again and again to get closer and closer to that ideal. It’s ridiculous but it’s a substantial human quality. People always want to try to go beyond the horizon.

Christophe Pillet

Christophe Pillet

What have you been up to since you gave your talk in Luxembourg?

I have been constantly travelling.

We have done many projects but our main activity since then has been doing hotels, hotels and more hotels. These include big and small projects around the world. We are also still designing furniture and residential spaces in North Africa.

21

© Sissel Tolaas

20 Sissel Tolaas

Smell Research Berlin

Sissel Tolaas Ocean field work

Replicated Ocean Smells displayed with a Nanotechnology. The walls become the skin of the Ocean, and the smells can only be activated if the visitors touch the walls.

Sissel Tolaas

“Touching is an amazing sensation, seeing is absolutely essential, smelling is beyond imagination.

Having all these ‘wow, wow, wow’ moments and taking off on the journey called life. If design can accomplish that then there is hope.”

© Daisy Ginsberg

© Sissel Tolaas

20 Sissel Tolaas

Smell Research Berlin

Sissel Tolaas Ocean field work

Replicated Ocean Smells displayed with a Nanotechnology. The walls become the skin of the Ocean, and the smells can only be activated if the visitors touch the walls.

Sissel Tolaas

“Touching is an amazing sensation, seeing is absolutely essential, smelling is beyond imagination.

Having all these ‘wow, wow, wow’ moments and taking off on the journey called life. If design can accomplish that then there is hope.”

© Daisy Ginsberg

20

It’s been a few years since you’ve been in Luxembourg, what have you been up to in the time since?

I have been continuously smelling, recording and mapping the world.

There is no limit to where my nose takes me. The topics are diverse and all over, and as long as there is a whole world to smell I have very much to do. I do projects in the micro and macro level of life.

At the moment I am looking into serious issues in the ocean, trying to detect those issues using a device that collects smell sources in connection to the ocean.

I then break it down and look into the molecules. What I am most concerned about is how to bring back these issues to the locals and make them able to understand it.

We are all doing our amazing research, and having conferences all over the world and pretending we are doing what we can but so long as the people who live on the water and do some of the damage aren’t aware it’s pointless. I am trying to engage with the locals with my research and with my work.

This is what I did in Riga, New Zealand, Costa Rica… I am trying to look into different countries and different relations. This is an ongoing research that can take different dimensions and different directions.

Ocean field work

© Sissel Tolaas

Do you find that it is difficult to get these ideas across to the locals, or is every area different?

My point always is that we are all born with an amazing set of interfaces, which are our senses.

We would have the biggest opportunities in the world if we were able to use these tools more appropriately. The best way to understand the world is by using your own senses and this is specifically the case with the sense of smell, which is the most efficient sense we have. It can within seconds trigger your emotions and your memory. So, if we can bring across these topics of concern that we have about our surrounding climate and the like, using different type of artefacts that engage with people in a more holistic and emotional way, I think we can very

quickly make people understand.

This is what I am trying to do here, develop new types of artefacts that can engage the visitor and the locals using their own appropriate set up of senses. We have digital devices and are moving towards multiple realities but we don’t even know and understand the real reality and even less the invisible reality (the air that we breathe, we have no clue what it contains). So, in my work I try to materialise that, to bring that down to a point that is accessible. “This information just came out of your ocean, just down the street.” Then people start to engage. “Oh, but that’s garbage, oh, but that’s sewage, that’s a dead fish, that’s plastic…”

Other than that I have also worked on a big archaeological site. I have worked in Australia with the legacy of land and the idea of how far we can trace back. What are the sources for the smells that I highlight? These are new ways of looking at the past.

I am also doing a project in Detroit at the Ford headquarters. I am looking into the legacy of the building and collecting smells before it is going to be turned into a new site.

The other work I am collaborating on is with a designer and a scientist, trying to recreate DNA from extinct plants and capturing their smells.

I don’t see myself as an artist, designer or scientist, I call myself a professional in-betweener because I am all over the place.

I try to modify my knowledge for those purposes and contexts.

It’s hard to tune down passion.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I decided to put a lot of my money and time into education.Wherever I have a project, it is a must to implement education. I leave my legacy in the next generation.

When you use your senses properly you also add back joy and playfulness. We lose that as we grow old and we should teach children to use their senses properly.

When you are cataloguing what is going on in the oceans, you are essentially telling a story, do you see it that way or is it about capturing reality?

Everything is about telling stories, but you have no control over the outcome. With some there is a continuum and you can build on your stories, with some you archive. Using smell molecules as a tool for communication, you tell completely different stories. Stories that people engage within the most intrinsic way and that’s necessary in this world of superficiality that we live in. You don’t know anymore what’s real and what’s not. So smells brings you back to truth, they bring you back to basics. Touching is an amazing sensation, seeing is absolutely essential, smelling is beyond imagination. Having all these “wow, wow, wow” moments and taking off on the journey called life. If design can accomplish that then there is hope.

Failure is success.

It makes you try over and over again, and you learn so much more along the way.

How does the notion of time play into your work?

What I have access to is capturing a moment in time through smell and holding it forever. We can trigger memory. Having the ability to replicate those moments and giving it to people is amazing.

You bring back a little bit of this contemplation and appreciation of time and memory. We are snapping our life away with our smartphone and we don’t even know where we have been. Through smell I can give homage to memory again, for that I have developed a couple of devices, smell memory kits that allow you to do exactly that. If you want to remember a moment, an instance, a person, you can add an abstract smell to it, and whenever you want to recall that moment you break another capsule with the same smell and you are thrown back to that memory in a second.

Sissel Tolaas

Sissel Tolaas

20

20

It’s been a few years since you’ve been in Luxembourg, what have you been up to in the time since?

I have been continuously smelling, recording and mapping the world.

There is no limit to where my nose takes me. The topics are diverse and all over, and as long as there is a whole world to smell I have very much to do. I do projects in the micro and macro level of life.

At the moment I am looking into serious issues in the ocean, trying to detect those issues using a device that collects smell sources in connection to the ocean.

I then break it down and look into the molecules. What I am most concerned about is how to bring back these issues to the locals and make them able to understand it.

We are all doing our amazing research, and having conferences all over the world and pretending we are doing what we can but so long as the people who live on the water and do some of the damage aren’t aware it’s pointless. I am trying to engage with the locals with my research and with my work.

This is what I did in Riga, New Zealand, Costa Rica… I am trying to look into different countries and different relations. This is an ongoing research that can take different dimensions and different directions.

Ocean field work

© Sissel Tolaas

Do you find that it is difficult to get these ideas across to the locals, or is every area different?

My point always is that we are all born with an amazing set of interfaces, which are our senses.

We would have the biggest opportunities in the world if we were able to use these tools more appropriately. The best way to understand the world is by using your own senses and this is specifically the case with the sense of smell, which is the most efficient sense we have. It can within seconds trigger your emotions and your memory. So, if we can bring across these topics of concern that we have about our surrounding climate and the like, using different type of artefacts that engage with people in a more holistic and emotional way, I think we can very

quickly make people understand.

This is what I am trying to do here, develop new types of artefacts that can engage the visitor and the locals using their own appropriate set up of senses. We have digital devices and are moving towards multiple realities but we don’t even know and understand the real reality and even less the invisible reality (the air that we breathe, we have no clue what it contains). So, in my work I try to materialise that, to bring that down to a point that is accessible. “This information just came out of your ocean, just down the street.” Then people start to engage. “Oh, but that’s garbage, oh, but that’s sewage, that’s a dead fish, that’s plastic…”

Other than that I have also worked on a big archaeological site. I have worked in Australia with the legacy of land and the idea of how far we can trace back. What are the sources for the smells that I highlight? These are new ways of looking at the past.

I am also doing a project in Detroit at the Ford headquarters. I am looking into the legacy of the building and collecting smells before it is going to be turned into a new site.

The other work I am collaborating on is with a designer and a scientist, trying to recreate DNA from extinct plants and capturing their smells.

I don’t see myself as an artist, designer or scientist, I call myself a professional in-betweener because I am all over the place.

I try to modify my knowledge for those purposes and contexts.

It’s hard to tune down passion.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I decided to put a lot of my money and time into education.Wherever I have a project, it is a must to implement education. I leave my legacy in the next generation.

When you use your senses properly you also add back joy and playfulness. We lose that as we grow old and we should teach children to use their senses properly.

When you are cataloguing what is going on in the oceans, you are essentially telling a story, do you see it that way or is it about capturing reality?

Everything is about telling stories, but you have no control over the outcome. With some there is a continuum and you can build on your stories, with some you archive. Using smell molecules as a tool for communication, you tell completely different stories. Stories that people engage within the most intrinsic way and that’s necessary in this world of superficiality that we live in. You don’t know anymore what’s real and what’s not. So smells brings you back to truth, they bring you back to basics. Touching is an amazing sensation, seeing is absolutely essential, smelling is beyond imagination. Having all these “wow, wow, wow” moments and taking off on the journey called life. If design can accomplish that then there is hope.

Failure is success.

It makes you try over and over again, and you learn so much more along the way.

How does the notion of time play into your work?

What I have access to is capturing a moment in time through smell and holding it forever. We can trigger memory. Having the ability to replicate those moments and giving it to people is amazing.

You bring back a little bit of this contemplation and appreciation of time and memory. We are snapping our life away with our smartphone and we don’t even know where we have been. Through smell I can give homage to memory again, for that I have developed a couple of devices, smell memory kits that allow you to do exactly that. If you want to remember a moment, an instance, a person, you can add an abstract smell to it, and whenever you want to recall that moment you break another capsule with the same smell and you are thrown back to that memory in a second.

Sissel Tolaas

Sissel Tolaas

20

19

Nicolas Bourquin

Nicolas Bourquin

Editorial Design Berlin

“Design is a narrative that can change how people approach the world. I think the work itself is less important than the impact or awareness you can create with or through it.�

Speculations Transformations, 2016

19

Nicolas Bourquin

Nicolas Bourquin

Editorial Design Berlin

“Design is a narrative that can change how people approach the world. I think the work itself is less important than the impact or awareness you can create with or through it.�

Speculations Transformations, 2016

© Ingo Mittelstedt

focused on the terminus of design and its extended understandings.

Its concept — developed in collaboration with the curator Friedrich von Borries — is based on the principles of dialogue and process. Every three months, two carefully selected design objects/positions/projects are brought together — within a huge prismatic showcase, which itself can be read as a design object and statement due to its size.

The showcase offers generous space to let the two exhibits start a dialogue with each other and the visitors in front of it.

By extracting and recombining selected design aspects the exhibition project aims to contribute to the contemporary discourses about what design is, can and will be, its social impact and where it is passing its very own limits (designondisplay.de).

Together with my team at onlab, I conceived and developed the magazine On Display published to accompany the exhibition series — 9 Issues so far. Each issue provides more background information with essays and interviews.

Thomas Weyres at onlab is now responsible for the design and Art Direction of the magazine.

The magazine On Display as well as the exhibition series Design

On Display magazine (published by Autostadt, concept, art direction and design by onlab Berlin)

Display won several German and International Design awards in the last 3 years — a great recognition for this long-term and challenging project.

As designers, we stage content, create connections, tell stories and make them readable, thus creating qualitative value at both the visual and narrative level. These are the central ideas I have addressed — together with Thibaud Tissot — while managing my company onlab with passion, enthusiasm and assiduity to become an internationally-recognised design studio. After 16 intensive years of commissioned, collaborative and self-initiated design and publishing projects at onlab, it was time for me to embrace new challenges.

In spring of 2016, I moved to San Francisco. I worked 1,5 years with the highly talented team of the international design studio and consultancy Method. We helped companies to develop visions for a disruptive future using insight gained from working on innovative products and technologies.

In the autumn of 2017 I came back to Berlin and got the great opportunity to join the team Infographics Group. As head of the Infographics Group Think Tank I teamed up with founder Jan Schwochow and my long-term creative partner Sven Ehmann. In this new context, I have the opportunity to bring the competences learned in San Francisco together with the craft and experience gathered in the past years to seek new grounds, innovative formats, technology, projects, services, products and partnerships in the fields of infographics, data visualisation and visual storytelling.

This winter, I had the honour of leading the Infographics Group team creating the first Infographic System of the German aviation company Lufthansa and Lufthansa Group as part of the company’s brand update. While, as the founder and owner of onlab, I am staying on in an advisory capacity and consultant.

When you gave your talk for Design Friends was that your first time in Luxembourg?

No, it was my third time. I first came to Luxembourg for the launch of the monograph we developed and published for the Swiss photographer Joel Tettamanti.

Mudam commissioned the artist for a series of photographs of Luxembourg. The second time was for the symposium Colophon.

The few days spent together with the indie mag community in Luxembourg were epic. I would love to come back to Luxembourg.

constitute a real challenge.

Florian Heilmeyer wrote about me: “Nicolas works at disciplinary intersections and, through his professional practice, has changed the very definition of the term graphic designer.” Design is a narrative that can change how people approach the world. I think the work itself is less important than the impact or awareness you can create with or through it.

On Display magazine layout, Issue 03 (published

by Autostadt)

Where do you look for magic these days?

Hand drawing. It’s magical!

Failure is a necessary part

of the creative process.

What is your next big project?

I am heading — together with Sven Ehmann — the Infographics Group Think Tank in Berlin to explore new grounds in the fields of infographics and data visualisation at the intersection of content, visual storytelling and technology.

We aim to explore the potential of the next generation of infographics.

We are for example currently working on an AR prototype, developing a product to enhance and augment objects or images around us to enable Knowledge.

We are experimenting with the potential and value of Infographics/Data Viz in this promising new field.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

This is one of my main motivations.

The scale doesn’t matter though — whether you inspire (or are inspired by) your audience, readers or users, your team, your partner, your neighbour, or your child.

Inspiring and being inspired are crucial in a radically changing society. The paradigm shift in knowledge transfer, news and information processing, and the ensuing social changes,

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

Be agile, critical, courageous, tenacious and curious.

What are the big trends you have observed in your particular field?

As obvious as it might sounds, technology is radically changing our field and our behaviour. We have to adapt quickly to the disruption in the world around us. The changes in our modern consumer society have provoked a profound crisis of confidence. The growing amount of data and the digitalisation of our daily lives have a huge impact on how we access, publish, consume and deal with information.

The desire for a more transparent, clear communication of political, cultural and economic processes has become a matter of great public concern.

On the importance or relevance of storytelling: Without Storytelling there is only noise.

What’s the best way to challenge viewers’ perceptions?

Surprise.

On Display magazine cover, Issue 03 (published

by Autostadt)

And is that always a good thing?

Yes, it’s not only good, but vital.

Do you feel like in the past decade there has been an increased interest in design and if so why do you think that is?

Yes, luckily (and finally) design is perceived and practiced more and more as a means for business development. Design is now part of an integrative process.

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

Courage.

Your work pays your bills, but how do you stay excited about your chosen path?

There is so much to create, discover, learn, share and enjoy.

Nicolas Bourquin

It’s been a few years since you’ve been in Luxembourg, what have you been up to in the years since?

In the spring of 2016, the book project Speculations Transformations – Thoughts on the Future of Germany’s Cities and Regions was finally launched and published

by Lars Müller. We spent more than 3 years designing the book and it became one of the winners of “die schönsten deutschen Bücher 2017” — most beautiful German books 2017. Speculations Transformations is an atlas of “Baukultur” composed of texts, maps and photographs that draft scenarios about the spatial, natural, urban, architectural, and social environments in which we might live in 2050, after having faced economic and infrastructural transformations. It facilitates a better understanding of the present, addresses pending spatial transformations and speculates about their effects.

In 2016, I collaborated with the famous German industrial designer Konstantin Grcic and Berlin based architect Jesko Fezer on an exhibition series for the “Autostadt” — a museum adjacent to the Volkswagen factory in Wolfsburg, Germany.

The exhibition Design Display

19

© Nicolas Polli

Nicolas Bourquin

19

© Ingo Mittelstedt

focused on the terminus of design and its extended understandings.

Its concept — developed in collaboration with the curator Friedrich von Borries — is based on the principles of dialogue and process. Every three months, two carefully selected design objects/positions/projects are brought together — within a huge prismatic showcase, which itself can be read as a design object and statement due to its size.

The showcase offers generous space to let the two exhibits start a dialogue with each other and the visitors in front of it.

By extracting and recombining selected design aspects the exhibition project aims to contribute to the contemporary discourses about what design is, can and will be, its social impact and where it is passing its very own limits (designondisplay.de).

Together with my team at onlab, I conceived and developed the magazine On Display published to accompany the exhibition series — 9 Issues so far. Each issue provides more background information with essays and interviews.

Thomas Weyres at onlab is now responsible for the design and Art Direction of the magazine.

The magazine On Display as well as the exhibition series Design

On Display magazine (published by Autostadt, concept, art direction and design by onlab Berlin)

Display won several German and International Design awards in the last 3 years — a great recognition for this long-term and challenging project.

As designers, we stage content, create connections, tell stories and make them readable, thus creating qualitative value at both the visual and narrative level. These are the central ideas I have addressed — together with Thibaud Tissot — while managing my company onlab with passion, enthusiasm and assiduity to become an internationally-recognised design studio. After 16 intensive years of commissioned, collaborative and self-initiated design and publishing projects at onlab, it was time for me to embrace new challenges.

In spring of 2016, I moved to San Francisco. I worked 1,5 years with the highly talented team of the international design studio and consultancy Method. We helped companies to develop visions for a disruptive future using insight gained from working on innovative products and technologies.

In the autumn of 2017 I came back to Berlin and got the great opportunity to join the team Infographics Group. As head of the Infographics Group Think Tank I teamed up with founder Jan Schwochow and my long-term creative partner Sven Ehmann. In this new context, I have the opportunity to bring the competences learned in San Francisco together with the craft and experience gathered in the past years to seek new grounds, innovative formats, technology, projects, services, products and partnerships in the fields of infographics, data visualisation and visual storytelling.

This winter, I had the honour of leading the Infographics Group team creating the first Infographic System of the German aviation company Lufthansa and Lufthansa Group as part of the company’s brand update. While, as the founder and owner of onlab, I am staying on in an advisory capacity and consultant.

When you gave your talk for Design Friends was that your first time in Luxembourg?

No, it was my third time. I first came to Luxembourg for the launch of the monograph we developed and published for the Swiss photographer Joel Tettamanti.

Mudam commissioned the artist for a series of photographs of Luxembourg. The second time was for the symposium Colophon.

The few days spent together with the indie mag community in Luxembourg were epic. I would love to come back to Luxembourg.

constitute a real challenge.

Florian Heilmeyer wrote about me: “Nicolas works at disciplinary intersections and, through his professional practice, has changed the very definition of the term graphic designer.” Design is a narrative that can change how people approach the world. I think the work itself is less important than the impact or awareness you can create with or through it.

On Display magazine layout, Issue 03 (published

by Autostadt)

Where do you look for magic these days?

Hand drawing. It’s magical!

Failure is a necessary part

of the creative process.

What is your next big project?

I am heading — together with Sven Ehmann — the Infographics Group Think Tank in Berlin to explore new grounds in the fields of infographics and data visualisation at the intersection of content, visual storytelling and technology.

We aim to explore the potential of the next generation of infographics.

We are for example currently working on an AR prototype, developing a product to enhance and augment objects or images around us to enable Knowledge.

We are experimenting with the potential and value of Infographics/Data Viz in this promising new field.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

This is one of my main motivations.

The scale doesn’t matter though — whether you inspire (or are inspired by) your audience, readers or users, your team, your partner, your neighbour, or your child.

Inspiring and being inspired are crucial in a radically changing society. The paradigm shift in knowledge transfer, news and information processing, and the ensuing social changes,

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

Be agile, critical, courageous, tenacious and curious.

What are the big trends you have observed in your particular field?

As obvious as it might sounds, technology is radically changing our field and our behaviour. We have to adapt quickly to the disruption in the world around us. The changes in our modern consumer society have provoked a profound crisis of confidence. The growing amount of data and the digitalisation of our daily lives have a huge impact on how we access, publish, consume and deal with information.

The desire for a more transparent, clear communication of political, cultural and economic processes has become a matter of great public concern.

On the importance or relevance of storytelling: Without Storytelling there is only noise.

What’s the best way to challenge viewers’ perceptions?

Surprise.

On Display magazine cover, Issue 03 (published

by Autostadt)

And is that always a good thing?

Yes, it’s not only good, but vital.

Do you feel like in the past decade there has been an increased interest in design and if so why do you think that is?

Yes, luckily (and finally) design is perceived and practiced more and more as a means for business development. Design is now part of an integrative process.

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

Courage.

Your work pays your bills, but how do you stay excited about your chosen path?

There is so much to create, discover, learn, share and enjoy.

Nicolas Bourquin

It’s been a few years since you’ve been in Luxembourg, what have you been up to in the years since?

In the spring of 2016, the book project Speculations Transformations – Thoughts on the Future of Germany’s Cities and Regions was finally launched and published

by Lars Müller. We spent more than 3 years designing the book and it became one of the winners of “die schönsten deutschen Bücher 2017” — most beautiful German books 2017. Speculations Transformations is an atlas of “Baukultur” composed of texts, maps and photographs that draft scenarios about the spatial, natural, urban, architectural, and social environments in which we might live in 2050, after having faced economic and infrastructural transformations. It facilitates a better understanding of the present, addresses pending spatial transformations and speculates about their effects.

In 2016, I collaborated with the famous German industrial designer Konstantin Grcic and Berlin based architect Jesko Fezer on an exhibition series for the “Autostadt” — a museum adjacent to the Volkswagen factory in Wolfsburg, Germany.

The exhibition Design Display

19

© Nicolas Polli

Nicolas Bourquin

19

Murat Günak

Automotive Design Braunschweig

© Bernd Kammerer

“Today, there is design overkill: too many products provoking the waste of resources on our planet, to make things that nobody really needs, in addition to what is already offered.”

Mia sliding doors

Murat Günak

Murat Günak

18

Murat Günak

Automotive Design Braunschweig

© Bernd Kammerer

“Today, there is design overkill: too many products provoking the waste of resources on our planet, to make things that nobody really needs, in addition to what is already offered.”

Mia sliding doors

Murat Günak

Murat Günak

18

18

18 Failure is the best friend of success.

Where do you look for magic these days?

In life.

What is your next big project?

My life.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I do wish to inspire people, if they see me as someone who is inspiring. I love being with very young designers, both in terms of age and in terms of thought.

I have no expectation that people remember my work, but I hope that they will remember my way of thinking, my initiative and dedication, especially in encouraging people (not only designers) to do what they believe in.

© Joel Peyrou

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your respective field?

I would emphasise the meaning of education around the world, starting from Kindergarten. I would promote the teaching profession as one of the highest qualifications and best-paid jobs.

It’s been five years since you’ve been in Luxembourg, what have you been up to since?

Since then, I have been simplifying my life, prioritising the real important things, which I had neglected due to my busy work life. I have also worked on the following projects: a future vehicle concept for Brose GmbH, shown at the Frankfurt Motor show in 2016, a new type of speed pedal bike presented in 2017, a new collection with and for Cybex GmbH, my second theatre play for children due to be released this Fall (2018), paintings and the co-founding of my company “Tretbox” to create and produce new types of vehicles, positioned between e-bikes and cars.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

I would make them aware of how much power design has, and that they would become a part of that in both a positive and negative way. Today, there is design overkill: too many products provoking the waste of resources on our planet, to make things that nobody really needs, in addition to what is already offered.

When I started out, I would have liked it if someone had made me aware of what the chain is. I had no idea when I imagined a product that I wanted to get produced.

What are the big trends you have observed in your particular field?

To take care.

On the importance or relevance of storytelling: If it is authentic and not selfish.

How would you define timeless design?

It does not exist.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

With a mix of humour and reliable professionalism. © seidldesign.com

Mia interior

When you gave your talk for Design Friends was that your first time in Luxembourg?

Yes, it was. I came because of Design Friends. The rapport was professional, friendly and up-to-date with the design and art

community. The people and the design community were great.

It impressed me. I was also pleasantly surprised by the city of Luxembourg, the mix of old and new architecture and the French influence, which I did not expect.

Mia factory (Cerizay, France)

Your work pays your bills, but how do you stay excited about your chosen path?

Do not count my money.

Murat Günak

Murat Günak

Today more than ever, what does honest design mean to you?

Not to do any additional design work for a product, if there is no real human need for it.

18

18 Failure is the best friend of success.

Where do you look for magic these days?

In life.

What is your next big project?

My life.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I do wish to inspire people, if they see me as someone who is inspiring. I love being with very young designers, both in terms of age and in terms of thought.

I have no expectation that people remember my work, but I hope that they will remember my way of thinking, my initiative and dedication, especially in encouraging people (not only designers) to do what they believe in.

© Joel Peyrou

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your respective field?

I would emphasise the meaning of education around the world, starting from Kindergarten. I would promote the teaching profession as one of the highest qualifications and best-paid jobs.

It’s been five years since you’ve been in Luxembourg, what have you been up to since?

Since then, I have been simplifying my life, prioritising the real important things, which I had neglected due to my busy work life. I have also worked on the following projects: a future vehicle concept for Brose GmbH, shown at the Frankfurt Motor show in 2016, a new type of speed pedal bike presented in 2017, a new collection with and for Cybex GmbH, my second theatre play for children due to be released this Fall (2018), paintings and the co-founding of my company “Tretbox” to create and produce new types of vehicles, positioned between e-bikes and cars.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

I would make them aware of how much power design has, and that they would become a part of that in both a positive and negative way. Today, there is design overkill: too many products provoking the waste of resources on our planet, to make things that nobody really needs, in addition to what is already offered.

When I started out, I would have liked it if someone had made me aware of what the chain is. I had no idea when I imagined a product that I wanted to get produced.

What are the big trends you have observed in your particular field?

To take care.

On the importance or relevance of storytelling: If it is authentic and not selfish.

How would you define timeless design?

It does not exist.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

With a mix of humour and reliable professionalism. © seidldesign.com

Mia interior

When you gave your talk for Design Friends was that your first time in Luxembourg?

Yes, it was. I came because of Design Friends. The rapport was professional, friendly and up-to-date with the design and art

community. The people and the design community were great.

It impressed me. I was also pleasantly surprised by the city of Luxembourg, the mix of old and new architecture and the French influence, which I did not expect.

Mia factory (Cerizay, France)

Your work pays your bills, but how do you stay excited about your chosen path?

Do not count my money.

Murat Günak

Murat Günak

Today more than ever, what does honest design mean to you?

Not to do any additional design work for a product, if there is no real human need for it.

17 Lernert & Sander

Lernert & Sander

Š Jouk Oosterhof

Still from the music video Elektrotechnique (commissioned by De Jeugd Van Tegenwoordig), 2011

Lernert & Sander

Art & Design Amsterdam

17 Lernert & Sander

Lernert & Sander

Š Jouk Oosterhof

Still from the music video Elektrotechnique (commissioned by De Jeugd Van Tegenwoordig), 2011

Lernert & Sander

Art & Design Amsterdam

16 Sonja Stummerer & Martin Hablesreiter

Sonja Stummerer & Martin Hablesreiter

Sonja Stummerer & Martin Hablesreiter

Food Design Vienna

“Topics such as climate change, social inequalities, or the problem of overproduction or overconsumption cannot be excluded from a reflective discourse on design.”

© Marco Zangger

© Stummerer Hablesreiter Akita

Eat Body Design (installation at Museum Baerengasse, Zurich)

Clean Design book project, 2018

16 Sonja Stummerer & Martin Hablesreiter

Sonja Stummerer & Martin Hablesreiter

Sonja Stummerer & Martin Hablesreiter

Food Design Vienna

“Topics such as climate change, social inequalities, or the problem of overproduction or overconsumption cannot be excluded from a reflective discourse on design.”

© Marco Zangger

© Stummerer Hablesreiter Akita

Eat Body Design (installation at Museum Baerengasse, Zurich)

Clean Design book project, 2018

© Stummerer Hablesreiter Akita

It’s been six years since you’ve been in Luxembourg, what have you been up to in the years since?

Well, we did more and more projects.

We are getting older and getting more jobs… Basically we focused on sustainable design, especially on sustainable food design. That’s what we have been doing for at least 3 years. We believe that, in view of the current social, political, economic, and ecological developments, contemporary design requires reorientation.

Topics such as climate change, social inequalities, or the problem of overproduction or overconsumption cannot be excluded from a reflective discourse on design. Since designers — with their concepts and approaches — contributed significantly to the digital revolution only a few years ago, they could also play a part in a “sustainable revolution” — a trend reversal towards an increased awareness of the use of natural resources. Design sits at the point of intersection between conception and production, and is thus significantly involved in the consumption of all types of resources. Honey&bunny stands for “Food Design” and “Eat Design,” as we have devoted ourselves to these topics for more than 15 years.

The work with “invisible design,” with what is “too” commonplace and mundane, is in tune with our basic approach to democratic design.

Design lies at the intersection of a socially balanced society.

That is why we want to explore, understand, document, and experiment with the cultural, social, and economic background of everyday objects and actions.

This is precisely why we are currently working on new research and a book project on cleaning.

Still we deal with food — WHY? You absorb design. Design is part of you. Eating is an everyday cultural act that more or less follows sustainable values. Any change in eating habits has an impact on the ecosystem and on socioeconomic processes. It makes a difference whether a society

16

Clean Design book project, 2018

chooses a monotonous, centralised, industrialised food supply, or a biodiverse, versatile, sustainable one.

The essential question is how we can provoke changes in our eating habits. Every bite is a political act. What we eat, when and why can trigger undignified working conditions in Spain, soil erosion in Central Africa, or the burning of the Amazon forest. Questioning daily food consumption is not related to diets, recipes, or food critics, but to CO² emissions, fracking, or genetic modification.

Every bite is cultural; every swallow is political. We want to position food as an essential political issue in the centre of society, because the daily consumption of calories is not only a question of pleasure and taste, but also of a society’s way of thinking and attitude towards life. Design processes are neither defined by nature nor by the economy, but can be shaped.

Design makes our system. Design is culture and design can evoke change. What and how we create is an expression of culture, society, and attitude towards life.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

Be radical. Be experimental.

NOTHING IS EMBARRASSING. Today more than ever, what does honest design mean to you?

The will for change, responsibility.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world, how would you go about doing it through your respective field?

(I don’t mean in a superhero kind of way but rather a way to focus attention, or provoke, or bring about grand-scale change.)

We’re designers — not superheroes!

And even more importantly: We’re democrats — we must be democrats. Superheroes are dictators. The idea of the only one implies a fascist ideal.

Good design is the intersection of research and radicalism.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

First of all, we want to make people smile or even laugh. But yes, we do want to inspire. Actually, we want to make designers aware of their responsibility in terms of ecology and social sustainability! We shape and leave behind values. We should ask ourselves whether we could create new values, instead of ever new (industrial) objects, to create a more sustainable society.

Shakespeare, Copernicus, Nietzsche were driven by doubts. Ultimately, like many others, they created completely new social, political and cultural values. As designers, we must also question things.

As designers we must discuss, in detail, values such as economic growth, industrialisation, neocolonialism, inequality, and, last but not least, sustainability.

Every product requires more or less energy, resources, and labour or earth before we can consume it. Every product, every action needs and leaves behind socalled externalities: ignored or concealed “collateral damages” such as modern slavery, resource robbery or wastage, environmental pollution or destruction, or simply garbage. Can we, as consumers, decide which externalities, which values we consume or leave behind? As designers, we can do that. Let us seize this opportunity!

As designers, we can make a decisive contribution to change.

How much slave labour is involved in the production of a smartphone?

How much natural gas is needed to heat up a greenhouse?

What damage does a cleaning agent cause? Every change in design behaviour has an impact on the ecosystem and socio-economic processes. It makes a difference whether a society decides upon a monotonous, centralised, industrialised product supply or a common good-orientated, democratic, sustainable one.

Presently, Western cultures mainly consume industrial

design. The question is how we can provoke change. Every society, every culture, chooses its products according to moral rules, and designs its products according to ritual ideas and classification systems, and uses them according to defined rules within their community. The rules and design parameters in Western industrialised countries follow the ideas of the centralised industrial society. We as designers have to create new rules, ideals, and design parameters. VALUES!

and if so why do you think that is?

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

Yes, but we don’t know why that is in the field of food design.

If as designers we want to get more attention, let us focus less on style and being stylish, and more on our social and cultural responsibility. Designing is a political act, we need to take that into consideration.

Failure is climate change, Trump, Brexit, the Austrian government.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

Let people eat — feed them — then let them interact…

How would you define timeless design?

Don’t know — that s not our goal — our projects rot after a while.

What are the big trends you have observed in your particular field?

Trends are not interesting.

On the importance or relevance of storytelling: Without a narrative design does not work.

Do you feel like in the past decade there has been an increased interest in design (in your field)

Where do you look for magic these days?

In our coffee cups!

Eat Body Design (installation at Museum Baerengasse in Zurich)

Sonja Stummerer & Martin Hablesreiter

Sonja Stummerer & Martin Hablesreiter

16

© Stummerer Hablesreiter Akita

It’s been six years since you’ve been in Luxembourg, what have you been up to in the years since?

Well, we did more and more projects.

We are getting older and getting more jobs… Basically we focused on sustainable design, especially on sustainable food design. That’s what we have been doing for at least 3 years. We believe that, in view of the current social, political, economic, and ecological developments, contemporary design requires reorientation.

Topics such as climate change, social inequalities, or the problem of overproduction or overconsumption cannot be excluded from a reflective discourse on design. Since designers — with their concepts and approaches — contributed significantly to the digital revolution only a few years ago, they could also play a part in a “sustainable revolution” — a trend reversal towards an increased awareness of the use of natural resources. Design sits at the point of intersection between conception and production, and is thus significantly involved in the consumption of all types of resources. Honey&bunny stands for “Food Design” and “Eat Design,” as we have devoted ourselves to these topics for more than 15 years.

The work with “invisible design,” with what is “too” commonplace and mundane, is in tune with our basic approach to democratic design.

Design lies at the intersection of a socially balanced society.

That is why we want to explore, understand, document, and experiment with the cultural, social, and economic background of everyday objects and actions.

This is precisely why we are currently working on new research and a book project on cleaning.

Still we deal with food — WHY? You absorb design. Design is part of you. Eating is an everyday cultural act that more or less follows sustainable values. Any change in eating habits has an impact on the ecosystem and on socioeconomic processes. It makes a difference whether a society

16

Clean Design book project, 2018

chooses a monotonous, centralised, industrialised food supply, or a biodiverse, versatile, sustainable one.

The essential question is how we can provoke changes in our eating habits. Every bite is a political act. What we eat, when and why can trigger undignified working conditions in Spain, soil erosion in Central Africa, or the burning of the Amazon forest. Questioning daily food consumption is not related to diets, recipes, or food critics, but to CO² emissions, fracking, or genetic modification.

Every bite is cultural; every swallow is political. We want to position food as an essential political issue in the centre of society, because the daily consumption of calories is not only a question of pleasure and taste, but also of a society’s way of thinking and attitude towards life. Design processes are neither defined by nature nor by the economy, but can be shaped.

Design makes our system. Design is culture and design can evoke change. What and how we create is an expression of culture, society, and attitude towards life.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

Be radical. Be experimental.

NOTHING IS EMBARRASSING. Today more than ever, what does honest design mean to you?

The will for change, responsibility.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world, how would you go about doing it through your respective field?

(I don’t mean in a superhero kind of way but rather a way to focus attention, or provoke, or bring about grand-scale change.)

We’re designers — not superheroes!

And even more importantly: We’re democrats — we must be democrats. Superheroes are dictators. The idea of the only one implies a fascist ideal.

Good design is the intersection of research and radicalism.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

First of all, we want to make people smile or even laugh. But yes, we do want to inspire. Actually, we want to make designers aware of their responsibility in terms of ecology and social sustainability! We shape and leave behind values. We should ask ourselves whether we could create new values, instead of ever new (industrial) objects, to create a more sustainable society.

Shakespeare, Copernicus, Nietzsche were driven by doubts. Ultimately, like many others, they created completely new social, political and cultural values. As designers, we must also question things.

As designers we must discuss, in detail, values such as economic growth, industrialisation, neocolonialism, inequality, and, last but not least, sustainability.

Every product requires more or less energy, resources, and labour or earth before we can consume it. Every product, every action needs and leaves behind socalled externalities: ignored or concealed “collateral damages” such as modern slavery, resource robbery or wastage, environmental pollution or destruction, or simply garbage. Can we, as consumers, decide which externalities, which values we consume or leave behind? As designers, we can do that. Let us seize this opportunity!

As designers, we can make a decisive contribution to change.

How much slave labour is involved in the production of a smartphone?

How much natural gas is needed to heat up a greenhouse?

What damage does a cleaning agent cause? Every change in design behaviour has an impact on the ecosystem and socio-economic processes. It makes a difference whether a society decides upon a monotonous, centralised, industrialised product supply or a common good-orientated, democratic, sustainable one.

Presently, Western cultures mainly consume industrial

design. The question is how we can provoke change. Every society, every culture, chooses its products according to moral rules, and designs its products according to ritual ideas and classification systems, and uses them according to defined rules within their community. The rules and design parameters in Western industrialised countries follow the ideas of the centralised industrial society. We as designers have to create new rules, ideals, and design parameters. VALUES!

and if so why do you think that is?

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

Yes, but we don’t know why that is in the field of food design.

If as designers we want to get more attention, let us focus less on style and being stylish, and more on our social and cultural responsibility. Designing is a political act, we need to take that into consideration.

Failure is climate change, Trump, Brexit, the Austrian government.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

Let people eat — feed them — then let them interact…

How would you define timeless design?

Don’t know — that s not our goal — our projects rot after a while.

What are the big trends you have observed in your particular field?

Trends are not interesting.

On the importance or relevance of storytelling: Without a narrative design does not work.

Do you feel like in the past decade there has been an increased interest in design (in your field)

Where do you look for magic these days?

In our coffee cups!

Eat Body Design (installation at Museum Baerengasse in Zurich)

Sonja Stummerer & Martin Hablesreiter

Sonja Stummerer & Martin Hablesreiter

16

15

Sam Hecht

Industrial Design London

© Gerhardt Kellerman

Sam Hecht

Sam Hecht

“The designer, in this respect, is, and always will be, a servant to industry that is one sort or another.

The duty is to navigate these systems to produce beautiful work that will not be thrown away.”

Branca Chair for Mattiazzi (SpA Client), 2010

15

Sam Hecht

Industrial Design London

© Gerhardt Kellerman

Sam Hecht

Sam Hecht

“The designer, in this respect, is, and always will be, a servant to industry that is one sort or another.

The duty is to navigate these systems to produce beautiful work that will not be thrown away.”

Branca Chair for Mattiazzi (SpA Client), 2010

15

15 Since you came to Luxembourg, what have you been up to?

Industrial Facility has applied itself to ever-more engaging projects.

In the field of office furniture, there have been projects called Locale and Plex for Herman Miller; recycled aluminium furniture for Emeco; outdoor lighting for Santa & Cole; and of course many new contributions to both Mattiazzi and Muji.

The designer, in this respect, is, and always will be, a servant to industry that is one sort or another.

The duty is to navigate these systems to produce beautiful work that will not be thrown away.

Dalston Lamp for Wästberg, 2016

Which designer should we invite next?

I am enjoying the work of the ceramicist Ian Cartlidge and also Inge Sempe.

What is your next big project?

Our next big project will be the launch of a new lighting collection for Wästberg.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

Actually, when I first started it was so different, so little of what I know now would have been relevant back then. But if there is one thing that has not changed it’s change itself.

You need to embrace the fact that the modern conditions of life are never static.

Pastille lighting for Wästberg, 2018

Store containers for Sekisaka, 2016

Where do you look for magic these days?

The streets and towns I walk through — it’s constant inspiration.

© Zagnoli

Today, more than ever, what does honest design mean to you?

It’s probably what I have always preached to myself — to not delude oneself that you are somehow the centre of a system or mechanism, but instead merely a part of it.

What are the big trends you have observed in your particular field?

Design in the guise of Art, which it is not and never will be.

Sam Hecht

Sam Hecht

When you gave your talk for Design Friends was that your first time in Luxembourg?

I had been to Luxembourg once before — to visit a steel factory.

But this was when I was a student at the Royal College in my hometown of London.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I am not concerned with being remembered — it is all about the project, not me. That is why Kim and I started Industrial Facility — to take out the designer as an embellishment that somehow makes the project better. The project should stand by itself and enjoyed for what it is.

Humble and always obedient.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your field?

Plastic — half of our projects are made from it, and could not occur without it. The designer must take this material and make it worth more; otherwise it is worthless in the long run — both for the project and the environment.

Piatto tables for Fucina, 2018

Platform trays for Muuto, 2016

15

15 Since you came to Luxembourg, what have you been up to?

Industrial Facility has applied itself to ever-more engaging projects.

In the field of office furniture, there have been projects called Locale and Plex for Herman Miller; recycled aluminium furniture for Emeco; outdoor lighting for Santa & Cole; and of course many new contributions to both Mattiazzi and Muji.

The designer, in this respect, is, and always will be, a servant to industry that is one sort or another.

The duty is to navigate these systems to produce beautiful work that will not be thrown away.

Dalston Lamp for Wästberg, 2016

Which designer should we invite next?

I am enjoying the work of the ceramicist Ian Cartlidge and also Inge Sempe.

What is your next big project?

Our next big project will be the launch of a new lighting collection for Wästberg.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

Actually, when I first started it was so different, so little of what I know now would have been relevant back then. But if there is one thing that has not changed it’s change itself.

You need to embrace the fact that the modern conditions of life are never static.

Pastille lighting for Wästberg, 2018

Store containers for Sekisaka, 2016

Where do you look for magic these days?

The streets and towns I walk through — it’s constant inspiration.

© Zagnoli

Today, more than ever, what does honest design mean to you?

It’s probably what I have always preached to myself — to not delude oneself that you are somehow the centre of a system or mechanism, but instead merely a part of it.

What are the big trends you have observed in your particular field?

Design in the guise of Art, which it is not and never will be.

Sam Hecht

Sam Hecht

When you gave your talk for Design Friends was that your first time in Luxembourg?

I had been to Luxembourg once before — to visit a steel factory.

But this was when I was a student at the Royal College in my hometown of London.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I am not concerned with being remembered — it is all about the project, not me. That is why Kim and I started Industrial Facility — to take out the designer as an embellishment that somehow makes the project better. The project should stand by itself and enjoyed for what it is.

Humble and always obedient.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your field?

Plastic — half of our projects are made from it, and could not occur without it. The designer must take this material and make it worth more; otherwise it is worthless in the long run — both for the project and the environment.

Piatto tables for Fucina, 2018

Platform trays for Muuto, 2016

Mario Lombardo

Editorial Design Berlin

“My path is creativity. Creativity is a playground and I love to play.

How could I be bored?�

Atelier Oblique (letter G)

Mario Lombardo

Mario Lombardo

14

Mario Lombardo

Editorial Design Berlin

“My path is creativity. Creativity is a playground and I love to play.

How could I be bored?�

Atelier Oblique (letter G)

Mario Lombardo

Mario Lombardo

14

14

14 changed when I got there for Maison Moderne. Everything happened so fast so that I only have vague memories. I remember the first thing that occurred was an Alfa Romeo Spider ride with Mike (Koedinger) to the head office, where I found myself sitting in a green screen studio for a Live TV Show, stuttering some answers.

I think I had some time off after that, but it’s more like a haze.

The next memory is standing on stage inside this wonderful museum and talking about my work and signing some posters. I don’t know if I was drunk, but I still don’t know how I got home?

Numéro Homme Berlin Magazine (Beauty Issue)

It’s been a few years since you’ve been in Luxembourg, what have you been up to in the years since?

Beside the whole daily graphic design stuff like magazines, corporate designs and album sleeves I started a modern luxury perfume house in 2016 named Atl. Oblique. Actually I started in 2014 and launched on Valentines Day 2016. The first drop was “The Alphabet Collection”, a compilation of twenty-seven scented candles, consisting of the complete alphabet and the ampersand-sign. Each letter and symbol carries its own scent. The Collection combines my typographic work with my new perfume work. This year I launched my first four Eau de Parfums and there is more to follow. I’m super excited about it all.

When you gave your talk for Design Friends was that your first time in Luxembourg?

No, I’ve been to Luxembourg quite often during my childhood.

I grew up in Aachen, which is located at the border triangle between Netherlands, Belgium and Germany and located only one and a half hours from Luxembourg.

I don’t know why but my mother fancied the crêpes in Luxembourg.

I preferred the castles. Later, around 2008, I curated an exhibition for a client of mine in cooperation with The Family of Man - Château guys. The exhibition went pretty well, but it felt kind of slow and oversaturated. I even had time for a Crêpe Suzette, but it’s not really my taste. I kept a memory of a sleepy and slow city, which

What is your next big project?

Recently, I’ve been working on different things like a new spin-off of Numéro Magazine Berlin and on my fifth Eau de Parfum, which will be launched this October.

The working title is APART. Working on scents is the biggest thing I have ever done. It combines all the things I ever wanted to work on. It is slower than my usual work, but has the same intense feeling like designing the coolest magazine ever.

I work with the best perfumers and only with the most exclusive raw materials. Both the materials and the perfumer taught me a new language and a lot about the treasures of our planet.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

Work hard, be special, be bold and always be yourself.

On the importance or relevance of storytelling: It’s always about the story.

How would you define timeless design?

Zeitgeist with a touch of classic.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

It is always about the fine line. A bit of surprise and a bit of what they know or rather a bit of what they can recognise or identify with.

Failure is... I don’t know failure.

I know mistakes and I’m always curious about what they want to tell me.

Today more than ever, what does honest design mean to you?

A special but pure and simple answer.

Good design is the intersection of task, research/science and skills.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

This is not important for me anymore at all. But I have to admit that it used to be an enormous motivation for me when I started. It drove me sheer mad. I worked 24/7 and thought it was fun or worth it. Now everything has changed.

Everything comes naturally to me.

I only do things, which I love. And I don’t care about how people would or will remember me. Everything I do, I do with love. That is all I can give. And I think it is a lot!

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your respective field?

(I don’t mean in a superhero kind of way (though why not if that is something you fantasise about) but rather a way to focus attention, or provoke, or bring about grand-scale change.)

I’m not into fantasies like this. We try to avoid producing waste. All the materials, especially for Atelier Oblique, are climate neutral or certified as CO2 neutral. I donate to rainforest planting. Even during our family holidays we will be cleaning up plastic waste in the sea.

I think it’s time to act.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Conversely if you feel like there

should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

Everything is still the same beside the budgets. They seem to shrink.

Where do you look for magic these days?

In my wife’s and children’s eyes.

Sometimes myself. But I also love dancing, food, music, fast cars, mistakes, and sadness.

Your work pays your bills, but how do you stay excited about your chosen path?

My path is creativity. Creativity is a playground and I love to play.

How could I be bored?

Mario Lombardo

Mario Lombardo

Who should we invite next?

I would recommend Albert Folch or Esteban Diácono.

What are the big trends you have observed in your particular field?

Environmental friendliness.

Fräulein Magazine cover, 2018

14

14 changed when I got there for Maison Moderne. Everything happened so fast so that I only have vague memories. I remember the first thing that occurred was an Alfa Romeo Spider ride with Mike (Koedinger) to the head office, where I found myself sitting in a green screen studio for a Live TV Show, stuttering some answers.

I think I had some time off after that, but it’s more like a haze.

The next memory is standing on stage inside this wonderful museum and talking about my work and signing some posters. I don’t know if I was drunk, but I still don’t know how I got home?

Numéro Homme Berlin Magazine (Beauty Issue)

It’s been a few years since you’ve been in Luxembourg, what have you been up to in the years since?

Beside the whole daily graphic design stuff like magazines, corporate designs and album sleeves I started a modern luxury perfume house in 2016 named Atl. Oblique. Actually I started in 2014 and launched on Valentines Day 2016. The first drop was “The Alphabet Collection”, a compilation of twenty-seven scented candles, consisting of the complete alphabet and the ampersand-sign. Each letter and symbol carries its own scent. The Collection combines my typographic work with my new perfume work. This year I launched my first four Eau de Parfums and there is more to follow. I’m super excited about it all.

When you gave your talk for Design Friends was that your first time in Luxembourg?

No, I’ve been to Luxembourg quite often during my childhood.

I grew up in Aachen, which is located at the border triangle between Netherlands, Belgium and Germany and located only one and a half hours from Luxembourg.

I don’t know why but my mother fancied the crêpes in Luxembourg.

I preferred the castles. Later, around 2008, I curated an exhibition for a client of mine in cooperation with The Family of Man - Château guys. The exhibition went pretty well, but it felt kind of slow and oversaturated. I even had time for a Crêpe Suzette, but it’s not really my taste. I kept a memory of a sleepy and slow city, which

What is your next big project?

Recently, I’ve been working on different things like a new spin-off of Numéro Magazine Berlin and on my fifth Eau de Parfum, which will be launched this October.

The working title is APART. Working on scents is the biggest thing I have ever done. It combines all the things I ever wanted to work on. It is slower than my usual work, but has the same intense feeling like designing the coolest magazine ever.

I work with the best perfumers and only with the most exclusive raw materials. Both the materials and the perfumer taught me a new language and a lot about the treasures of our planet.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

Work hard, be special, be bold and always be yourself.

On the importance or relevance of storytelling: It’s always about the story.

How would you define timeless design?

Zeitgeist with a touch of classic.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

It is always about the fine line. A bit of surprise and a bit of what they know or rather a bit of what they can recognise or identify with.

Failure is... I don’t know failure.

I know mistakes and I’m always curious about what they want to tell me.

Today more than ever, what does honest design mean to you?

A special but pure and simple answer.

Good design is the intersection of task, research/science and skills.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

This is not important for me anymore at all. But I have to admit that it used to be an enormous motivation for me when I started. It drove me sheer mad. I worked 24/7 and thought it was fun or worth it. Now everything has changed.

Everything comes naturally to me.

I only do things, which I love. And I don’t care about how people would or will remember me. Everything I do, I do with love. That is all I can give. And I think it is a lot!

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your respective field?

(I don’t mean in a superhero kind of way (though why not if that is something you fantasise about) but rather a way to focus attention, or provoke, or bring about grand-scale change.)

I’m not into fantasies like this. We try to avoid producing waste. All the materials, especially for Atelier Oblique, are climate neutral or certified as CO2 neutral. I donate to rainforest planting. Even during our family holidays we will be cleaning up plastic waste in the sea.

I think it’s time to act.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Conversely if you feel like there

should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

Everything is still the same beside the budgets. They seem to shrink.

Where do you look for magic these days?

In my wife’s and children’s eyes.

Sometimes myself. But I also love dancing, food, music, fast cars, mistakes, and sadness.

Your work pays your bills, but how do you stay excited about your chosen path?

My path is creativity. Creativity is a playground and I love to play.

How could I be bored?

Mario Lombardo

Mario Lombardo

Who should we invite next?

I would recommend Albert Folch or Esteban Diácono.

What are the big trends you have observed in your particular field?

Environmental friendliness.

Fräulein Magazine cover, 2018

Pearls

Pearls

13 Timothy Davies and Benedikt Fritz

Pearls

Sound waveforms from brand campaigns created by Pearls

Interview with Timothy Davies & Benedikt Fritz, Conference in 2012 with Christian Schneider.

Sound Design Frankfurt

“Don’t hesitate to leave the known and working paths, other routes can be colourful and exciting.”

Pearls

Pearls

13 Timothy Davies and Benedikt Fritz

Pearls

Sound waveforms from brand campaigns created by Pearls

Interview with Timothy Davies & Benedikt Fritz, Conference in 2012 with Christian Schneider.

Sound Design Frankfurt

“Don’t hesitate to leave the known and working paths, other routes can be colourful and exciting.”

13 It’s been six years since you’ve been in Luxembourg, what have you been up to in the time since?

Up until 2015 we were responsible for the entire music and fx production of Media Markt TV and radio adverts. Since 2006 we provide the music composition, fx and mixes for the well-known German beer brand Radeberger’s TV and radio campaigns.

to museums, cultural events, such as dance performances, concerts, cinema, and theatre and getting to talk to other artists can start up loads of new ideas.

When you gave your talk for Design Friends was that your first time in Luxembourg?

We remember the warm welcome, the great organisation of the whole event and all those fascinating minds with whom we got in touch.

Last but not least, Luxembourg is an admirable and wonderful place.

How would you define timeless design?

Independent, unique, recognisable and pure & precise.

Which designer should we invite next?

(Tim) Gregor Aigner.

(Bene) Formafantasma, Moto Waganari.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

(Tim) Keep on doing things. Stay open minded — even if you think that a certain approach your client is asking for, is completely wrong — try it. Sometimes this opens new paths or even turns out to be the right way. But sometimes, of course, you get the confirmation, that the client’s demand is complete and utter nonsense.

(Bene) Stay curious and try to surprise yourself on a regular basis.

Don’t hesitate to leave the known and working paths, other routes can be colourful and exciting.

And most importantly: if your ears clog up, force yourself to take a longer rest.

Where do you look for magic these days?

Magic is everywhere and always around you — you just need to be open to find and receive it.

Even the simplest stuff can inspire you. But of course, going out

Good design is the intersection of courage and passion.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

Provocation is a very good method to catch someone’s attention.

But there are certain delicate topics and tricky subjects, where one has to try a more sensitive approach, to prevent possible emotional damage or seditious reactions.

Pearls

Pearls

13

Failure is (Tim) not caring.

(Bene) the Petri dish for new ideas.

Your work pays your bills, but how do you stay excited about your chosen path?

Our aim is to always finalise our projects with the best result possible. Some great projects need little work to become outstanding.

But some “unimportant” jobs challenge us even more to get them to pass our quality standard.

So it’s not just about the bills being paid — it’s about being happy and proud of the end result — no matter how big or small the clients or projects are.

Sound waveforms from brand campaigns created by Pearls

13 It’s been six years since you’ve been in Luxembourg, what have you been up to in the time since?

Up until 2015 we were responsible for the entire music and fx production of Media Markt TV and radio adverts. Since 2006 we provide the music composition, fx and mixes for the well-known German beer brand Radeberger’s TV and radio campaigns.

to museums, cultural events, such as dance performances, concerts, cinema, and theatre and getting to talk to other artists can start up loads of new ideas.

When you gave your talk for Design Friends was that your first time in Luxembourg?

We remember the warm welcome, the great organisation of the whole event and all those fascinating minds with whom we got in touch.

Last but not least, Luxembourg is an admirable and wonderful place.

How would you define timeless design?

Independent, unique, recognisable and pure & precise.

Which designer should we invite next?

(Tim) Gregor Aigner.

(Bene) Formafantasma, Moto Waganari.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

(Tim) Keep on doing things. Stay open minded — even if you think that a certain approach your client is asking for, is completely wrong — try it. Sometimes this opens new paths or even turns out to be the right way. But sometimes, of course, you get the confirmation, that the client’s demand is complete and utter nonsense.

(Bene) Stay curious and try to surprise yourself on a regular basis.

Don’t hesitate to leave the known and working paths, other routes can be colourful and exciting.

And most importantly: if your ears clog up, force yourself to take a longer rest.

Where do you look for magic these days?

Magic is everywhere and always around you — you just need to be open to find and receive it.

Even the simplest stuff can inspire you. But of course, going out

Good design is the intersection of courage and passion.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

Provocation is a very good method to catch someone’s attention.

But there are certain delicate topics and tricky subjects, where one has to try a more sensitive approach, to prevent possible emotional damage or seditious reactions.

Pearls

Pearls

13

Failure is (Tim) not caring.

(Bene) the Petri dish for new ideas.

Your work pays your bills, but how do you stay excited about your chosen path?

Our aim is to always finalise our projects with the best result possible. Some great projects need little work to become outstanding.

But some “unimportant” jobs challenge us even more to get them to pass our quality standard.

So it’s not just about the bills being paid — it’s about being happy and proud of the end result — no matter how big or small the clients or projects are.

Sound waveforms from brand campaigns created by Pearls

© Gerhardt Kellerman

12 Stefan Diez

Stefan Diez

“If you do not invest energy usually things turn out mediocre.

This is the natural place where things move when you unplug, if you don’t maintain the tension.”

Yard Emu Outdoor furniture, 2015

Stefan Diez

Industrial Design Munich

© Gerhardt Kellerman

12 Stefan Diez

Stefan Diez

“If you do not invest energy usually things turn out mediocre.

This is the natural place where things move when you unplug, if you don’t maintain the tension.”

Yard Emu Outdoor furniture, 2015

Stefan Diez

Industrial Design Munich

12

12 It’s been a few years since you’ve been in Luxembourg, what have you been up to in the time since?

When I came to Luxembourg it was pretty much at the beginning of my career as a designer. We just worked on the 404 for Thonet and had not started working on the Houdini. Most of the projects that we have become known for did not exist at that time.

information so easily. The best discoveries are those that you do yourself. It’s like when you come out of school everybody has basically the same mastery of different subjects, you are almost like a blank slate. It’s always important to do something, which is off the curriculum, which is not within the expectations. One has to invest in those aspects that have the potential to surprise.

© Rasmus Norlander

New Order for Hay

How do you ensure that you still continue to nurture the unexpected in your continued discovery, how do you look for magic?

I think on the one hand we rely on the fact that we are constantly increasing our knowledge on our subjects and at the same time, we know that we have to always walk an uncomfortable path.

Whenever things are going too smoothly I am extremely suspicious that I am doing something wrong.

There are these indicators, that when things are too easy, there may have already been someone who has done it before or it’s maybe not sharp enough, or maybe we have already made too many compromises. In particular, for our studio, we have really started to appreciate complexity.

So, we are not a studio that is always trying to find easy answers to questions. We believe that there is a source for fascination in the management of complexity, in finding a formula for processes or methods, which are new.

In my experience, in the relationship between a client and a designer or manufacturer, if you do not invest energy usually things turn out mediocre. This is the natural place where things move when you unplug, if you don’t maintain the tension. We know it from architecture, we know it from acrobats, the magical state is always when things are in tension, when they are almost about to collapse.

It’s the energy of an athlete, or it’s the knowledge of an architect that keeps the structure upright or things in balance. My belief is that good design strictly has to do with the investment of energy.

Does that mean that you feel the constant need to challenge yourself?

I don’t compare myself a lot with other designers, I think it’s useless.

What I generally observe is that one finds a lot of generic design, which is not really interesting.

It’s just another interpretation of something you already know.

So, for unexpected design you need to really go out of your way, projects that are related to what you would call in German “Leidenschaft”.

Failure is when you have not tried hard enough.

It’s not a failure when you have tried and then found out that it is actually not working. You may have failed to solve the problem, but you can be sure that you learned lots of things on the way.

So, passion?

Well, in a way it’s more than just passion. Because in “Leidenschaft” there is the notion of “Leiden” (suffering).

Going back to the idea of passion or “Leidenschaft”, it just means that when you really are passionate about what you are doing, then you are willing to go through great lengths and it doesn’t feel painful.

Yes, that nails it down.

No, pain, no gain?

Yes. There is of course always the prospect of an ingenious idea, which is such a shortcut and cuts out all the problems with one single cool idea, which of course is really great. Otherwise, at the studio we feel like we are managing complexities for the end user.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

The hardest person to please is usually yourself. There is no doubt that I am a perfectionist, so the person I would like to first

Good design is the intersection of curiosity, experimentation and passion.

Is honest design then the result of real toil, and anything that comes too easy should be deemed “dishonest”?

No, I wouldn’t say that. If you are watching a piano player playing a Schubert piece, and you really enjoy it, and you appreciate all the complexity in the piece, and the virtuosity of the piano player, then you can only do this because the piano player has been training for the past twenty years. So, for the musician it is not necessarily easy, but he is giving his piece a very léger appearance.

It’s always a problem when work looks like work. It’s not about suffering or a protestant way of doing things. It just means to be prepared.

convince is myself. So, inspiring is nice if it happens but it is not the essential driver of the work.

A design bears similarities to a language, it is partly called semantics, so of course you want to give a message with a product so if you code it wrong that’s sad.

Ideally, you do work that challenges you in the studio and then in the end you pass it on to your audience and you spread seeds in a product landscape. Hopefully, products are speaking an encouraging message.

It’s a forward oriented approach, instead of always referencing the past. Products also need to be a reflection of their time in that they take into account things like the environment, resources, production methods…

Is storytelling important in your work?

I wouldn’t say that the story is important, but conclusiveness is important. It’s about the interconnectedness of things, the way they relate to each other, their composition, the more seamlessly it is done, the more quality it reflects, and that tells a story in itself. What I am absolutely not interested in is telling the story of my grandmother’s kitchen and how that inspired me to blablabla.

I want to be a bit more professional than being merely understood as an author designer because of his past, because his dad was a carpenter and his childhood was like this and that, and that’s why he make so much furniture. That’s just not true.

Because your dad is not a carpenter?

No, actually he is and fourth generation at that. I probably did get a deep knowledge and smell for the materials from that. This aspect plays a role in the way I do things but that’s not the story I am trying to tell. I like the more scientific, the more rational approach.

I think experimentation is key, because I have sort of this idea that good design can only be found at the border of certain systems and not at the centre.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

Yes, the reason why is because a user who is educated is demanding.

How do you stay excited about your chosen path?

If I had to choose between the interesting or the profitable path, I would always choose the interesting path. There was never a second of hesitation. I never wasted a second on side projects, I always insisted to live from what I do, I just adjusted my consumption or expectations accordingly.

Stefan Diez

Stefan Diez

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started out?

It’s a bit of a hypothetical question, because I think that finding things out for oneself is the crucial experience of a young designer.

It isn’t always critical to rely on experiences of other people

because they may come from a different background, they may have different life experiences, they may have different craft backgrounds, different education and expectations and so on. So, I think it is always good to invest the time and find out what is your own interpretation of environment and cultural connections. The core competence of a designer must be, of course, curiosity and a certain passion for his job, to interpret the objects of our every day life in a kind of contemporary aspect.

Whenever things are changing around us (it could be technology, it could be behaviours) then subsequently objects around us are changing. A good translation is based on a good observation, based on deep interests of a subject.

It’s not possible to pass on specific

12

12 It’s been a few years since you’ve been in Luxembourg, what have you been up to in the time since?

When I came to Luxembourg it was pretty much at the beginning of my career as a designer. We just worked on the 404 for Thonet and had not started working on the Houdini. Most of the projects that we have become known for did not exist at that time.

information so easily. The best discoveries are those that you do yourself. It’s like when you come out of school everybody has basically the same mastery of different subjects, you are almost like a blank slate. It’s always important to do something, which is off the curriculum, which is not within the expectations. One has to invest in those aspects that have the potential to surprise.

© Rasmus Norlander

New Order for Hay

How do you ensure that you still continue to nurture the unexpected in your continued discovery, how do you look for magic?

I think on the one hand we rely on the fact that we are constantly increasing our knowledge on our subjects and at the same time, we know that we have to always walk an uncomfortable path.

Whenever things are going too smoothly I am extremely suspicious that I am doing something wrong.

There are these indicators, that when things are too easy, there may have already been someone who has done it before or it’s maybe not sharp enough, or maybe we have already made too many compromises. In particular, for our studio, we have really started to appreciate complexity.

So, we are not a studio that is always trying to find easy answers to questions. We believe that there is a source for fascination in the management of complexity, in finding a formula for processes or methods, which are new.

In my experience, in the relationship between a client and a designer or manufacturer, if you do not invest energy usually things turn out mediocre. This is the natural place where things move when you unplug, if you don’t maintain the tension. We know it from architecture, we know it from acrobats, the magical state is always when things are in tension, when they are almost about to collapse.

It’s the energy of an athlete, or it’s the knowledge of an architect that keeps the structure upright or things in balance. My belief is that good design strictly has to do with the investment of energy.

Does that mean that you feel the constant need to challenge yourself?

I don’t compare myself a lot with other designers, I think it’s useless.

What I generally observe is that one finds a lot of generic design, which is not really interesting.

It’s just another interpretation of something you already know.

So, for unexpected design you need to really go out of your way, projects that are related to what you would call in German “Leidenschaft”.

Failure is when you have not tried hard enough.

It’s not a failure when you have tried and then found out that it is actually not working. You may have failed to solve the problem, but you can be sure that you learned lots of things on the way.

So, passion?

Well, in a way it’s more than just passion. Because in “Leidenschaft” there is the notion of “Leiden” (suffering).

Going back to the idea of passion or “Leidenschaft”, it just means that when you really are passionate about what you are doing, then you are willing to go through great lengths and it doesn’t feel painful.

Yes, that nails it down.

No, pain, no gain?

Yes. There is of course always the prospect of an ingenious idea, which is such a shortcut and cuts out all the problems with one single cool idea, which of course is really great. Otherwise, at the studio we feel like we are managing complexities for the end user.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

The hardest person to please is usually yourself. There is no doubt that I am a perfectionist, so the person I would like to first

Good design is the intersection of curiosity, experimentation and passion.

Is honest design then the result of real toil, and anything that comes too easy should be deemed “dishonest”?

No, I wouldn’t say that. If you are watching a piano player playing a Schubert piece, and you really enjoy it, and you appreciate all the complexity in the piece, and the virtuosity of the piano player, then you can only do this because the piano player has been training for the past twenty years. So, for the musician it is not necessarily easy, but he is giving his piece a very léger appearance.

It’s always a problem when work looks like work. It’s not about suffering or a protestant way of doing things. It just means to be prepared.

convince is myself. So, inspiring is nice if it happens but it is not the essential driver of the work.

A design bears similarities to a language, it is partly called semantics, so of course you want to give a message with a product so if you code it wrong that’s sad.

Ideally, you do work that challenges you in the studio and then in the end you pass it on to your audience and you spread seeds in a product landscape. Hopefully, products are speaking an encouraging message.

It’s a forward oriented approach, instead of always referencing the past. Products also need to be a reflection of their time in that they take into account things like the environment, resources, production methods…

Is storytelling important in your work?

I wouldn’t say that the story is important, but conclusiveness is important. It’s about the interconnectedness of things, the way they relate to each other, their composition, the more seamlessly it is done, the more quality it reflects, and that tells a story in itself. What I am absolutely not interested in is telling the story of my grandmother’s kitchen and how that inspired me to blablabla.

I want to be a bit more professional than being merely understood as an author designer because of his past, because his dad was a carpenter and his childhood was like this and that, and that’s why he make so much furniture. That’s just not true.

Because your dad is not a carpenter?

No, actually he is and fourth generation at that. I probably did get a deep knowledge and smell for the materials from that. This aspect plays a role in the way I do things but that’s not the story I am trying to tell. I like the more scientific, the more rational approach.

I think experimentation is key, because I have sort of this idea that good design can only be found at the border of certain systems and not at the centre.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

Yes, the reason why is because a user who is educated is demanding.

How do you stay excited about your chosen path?

If I had to choose between the interesting or the profitable path, I would always choose the interesting path. There was never a second of hesitation. I never wasted a second on side projects, I always insisted to live from what I do, I just adjusted my consumption or expectations accordingly.

Stefan Diez

Stefan Diez

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started out?

It’s a bit of a hypothetical question, because I think that finding things out for oneself is the crucial experience of a young designer.

It isn’t always critical to rely on experiences of other people

because they may come from a different background, they may have different life experiences, they may have different craft backgrounds, different education and expectations and so on. So, I think it is always good to invest the time and find out what is your own interpretation of environment and cultural connections. The core competence of a designer must be, of course, curiosity and a certain passion for his job, to interpret the objects of our every day life in a kind of contemporary aspect.

Whenever things are changing around us (it could be technology, it could be behaviours) then subsequently objects around us are changing. A good translation is based on a good observation, based on deep interests of a subject.

It’s not possible to pass on specific

© Cici Olsson

Elvis Pompilio

Elvis Pompilio

11 Elvis Pompilio

Fashion Design Brussels

“Even though I started out with nothing, my work has never been driven by money, but by creative inspiration and expression.” © Cici Olsson

Fashion Show commissioned by Syndicate

© Cici Olsson

Elvis Pompilio

Elvis Pompilio

11 Elvis Pompilio

Fashion Design Brussels

“Even though I started out with nothing, my work has never been driven by money, but by creative inspiration and expression.” © Cici Olsson

Fashion Show commissioned by Syndicate

11

What have you been up to since you came to Luxembourg?

It’s been five years since I was last in Luxembourg. Since then, I’ve been working like mad, as usual, but also travelling extensively. Some of my favourite destinations were India, the US and Argentina. My next trip will be the Trans-Siberian Railway.

I am also teaching a Masters Degree for Accessory Design at La Cambre (Brussels). A couple of years ago, I made the stage costumes for La Bohème opera. My most recent collaboration was a jewelry collection — a series of different models silver hats, worn as rings, brooches or hairpins — with the Belgian jewelry designer, Isabelle Lenfant.

My designs are made to last.

From there to save the planet, well, I don’t know how to apply this to hats, but I’m open to ideas!

When you gave your talk for Design Friends was that your first time in Luxembourg?

No, it wasn’t my first time.

I’ve been to Luxembourg several times. I have friends here and I know quite a few artists via the Nosbaum and Reding Gallery.

I have also collaborated with artists from Luxembourg, doing shopwindows. So I know the city quite well and I find it both friendly and charming, completely up to my expectations, even after 24 hours.

On the importance or relevance of storytelling: It’s not very important for me.

I can imagine that in other branches of design, each piece will add up to a full picture, or story, but I’d rather leave my clients free to interpret the hat of their choice.

What is your next big project?

I’m going to launch an online collection. I’ve never sold anything online before, so it will be a new challenge and experience.

Failure is to consider yourself

a cursed artist.

What are the big trends you have observed in your particular field?

Unfortunately it’s a rather negative trend of mass produced, poor quality hats, sold anywhere and everywhere for 5 euros, only to be thrown away within a few days.

Hannelore Knuts for Elvis Pompilio (in collaboration with Le Printemps departmentstore, Paris)

Personally, I wish someone had taught me the fundamental basics for my trade, as it is, I have sometimes spent years finding out for myself through trial and error.

What’s the best way to challenge viewers’ perceptions, and is that always a good thing?

I think it’s good, but how to go about it, is up to each person and context. If you are confident about your work, one way would be to expose it as much as possible, and to break the moulds in order to think outside the box.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is? Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

In a way you could say that more people wear hats, however, I don’t think this trend of “prêt-à-jeter” is synonymous with an increased interest in serious hat design, on the contrary. People lack an active sense of conscience.

© Cici Olsson

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your field?

My personal approach is rather ecological. I never throw things away. I even rummage my own trash not to let anything go to waste.

Where do you look for magic these days?

As always inside my head!

Your work pays your bills, but how do you stay excited about your chosen path?

Even though I started out with nothing, my work has never been driven by money, but by creative inspiration and expression. I keep this process alive and curious by collaborating with other artists, by exploring new territories, and new pleasures. Apart from my own collections and my long-time collaborations with a number of fashion designers, I stay interested in other fields.

Reasoning in terms of: “if only this” or “if only that,” which deprives you of your own power.

Good design is the intersection of authenticity and commercial viability.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

My advice is simple — work, work, work! Combined with integrity and personality: don’t copy others!

How would you define timeless design?

Extraordinary.

Elvis Pompilio

Elvis Pompilio

11

Autumn / Winter Collection, 2017-2018

11

What have you been up to since you came to Luxembourg?

It’s been five years since I was last in Luxembourg. Since then, I’ve been working like mad, as usual, but also travelling extensively. Some of my favourite destinations were India, the US and Argentina. My next trip will be the Trans-Siberian Railway.

I am also teaching a Masters Degree for Accessory Design at La Cambre (Brussels). A couple of years ago, I made the stage costumes for La Bohème opera. My most recent collaboration was a jewelry collection — a series of different models silver hats, worn as rings, brooches or hairpins — with the Belgian jewelry designer, Isabelle Lenfant.

My designs are made to last.

From there to save the planet, well, I don’t know how to apply this to hats, but I’m open to ideas!

When you gave your talk for Design Friends was that your first time in Luxembourg?

No, it wasn’t my first time.

I’ve been to Luxembourg several times. I have friends here and I know quite a few artists via the Nosbaum and Reding Gallery.

I have also collaborated with artists from Luxembourg, doing shopwindows. So I know the city quite well and I find it both friendly and charming, completely up to my expectations, even after 24 hours.

On the importance or relevance of storytelling: It’s not very important for me.

I can imagine that in other branches of design, each piece will add up to a full picture, or story, but I’d rather leave my clients free to interpret the hat of their choice.

What is your next big project?

I’m going to launch an online collection. I’ve never sold anything online before, so it will be a new challenge and experience.

Failure is to consider yourself

a cursed artist.

What are the big trends you have observed in your particular field?

Unfortunately it’s a rather negative trend of mass produced, poor quality hats, sold anywhere and everywhere for 5 euros, only to be thrown away within a few days.

Hannelore Knuts for Elvis Pompilio (in collaboration with Le Printemps departmentstore, Paris)

Personally, I wish someone had taught me the fundamental basics for my trade, as it is, I have sometimes spent years finding out for myself through trial and error.

What’s the best way to challenge viewers’ perceptions, and is that always a good thing?

I think it’s good, but how to go about it, is up to each person and context. If you are confident about your work, one way would be to expose it as much as possible, and to break the moulds in order to think outside the box.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is? Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

In a way you could say that more people wear hats, however, I don’t think this trend of “prêt-à-jeter” is synonymous with an increased interest in serious hat design, on the contrary. People lack an active sense of conscience.

© Cici Olsson

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your field?

My personal approach is rather ecological. I never throw things away. I even rummage my own trash not to let anything go to waste.

Where do you look for magic these days?

As always inside my head!

Your work pays your bills, but how do you stay excited about your chosen path?

Even though I started out with nothing, my work has never been driven by money, but by creative inspiration and expression. I keep this process alive and curious by collaborating with other artists, by exploring new territories, and new pleasures. Apart from my own collections and my long-time collaborations with a number of fashion designers, I stay interested in other fields.

Reasoning in terms of: “if only this” or “if only that,” which deprives you of your own power.

Good design is the intersection of authenticity and commercial viability.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

My advice is simple — work, work, work! Combined with integrity and personality: don’t copy others!

How would you define timeless design?

Extraordinary.

Elvis Pompilio

Elvis Pompilio

11

Autumn / Winter Collection, 2017-2018

10 Michael Johnson

Graphic Design London

Twelve Town logo

Michael Johnson

“If a market is calling out for something disruptive and challenging, that’s always good in my book.”

10 Michael Johnson

Graphic Design London

Twelve Town logo

Michael Johnson

“If a market is calling out for something disruptive and challenging, that’s always good in my book.”

10 What have you recently been working on?

It’s been a busy and varied year so far — an identity for an association of historic British Houses, branding a global humanitarian organisation and more recently a very rare foray into packaging. And I’m putting the finishing touches to my third book.

What tips would you give to aspiring designers seeking a start in your particular field?

Today more than ever, what does honest design mean to you?

Well, we do it every day. The vast majority of our clients are notfor-profits, NGO’s, charities, educationalists and philanthropists.

Honesty and authenticity are almost a given in my world — people see through any ‘packaging’ very quickly.

fits — it’s really useful. But if you mean ‘storytelling’ as ‘making things up’, well that’s pretty useless. It has to be grounded in reality.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

There’s definitely an increased awareness of what branding can do, especially amongst certain key thinkers, practitioners and clients.

However, there’s still quite a lot of designers and clients out there who think that branding = logo.

That’s taking a bit of time to break down, I’ll be honest.

Good design is the intersection of strategic insight and unique design solutions.

Historic Houses Symbol, 2016

Where do you look for magic these days?

Everywhere. Exhibitions, art, architecture, music, long-form multi-part TV series, you name it.

Sadly I don’t look for magic in design very much — maybe because I want my influences to be from the outside, not the inside.

Which designer should we invite next?

That’s a good question: there are many different people working in many different styles…

Maybe someone unusual such as Kate Moross?

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would

What is your next big project?

We’re working on a very difficult project for one of the UK’s largest teacher training organisations.

If we can resolve the strategic questions well, I’m hopeful that a strong visual identity will follow.

What would you have liked to know when you first started working?

I think staying broad is a good idea in branding. Yes, learning the craft of logos and symbols is useful, of course, but understanding the wider context for this work, especially the kind of work we do, is essential. We spend just as much time on the words and strategy as the design.

you go about doing it through your field?

We’re doing our best with our client list. Yes, of course, we love doing nice little projects for cultural centres and museums (who doesn’t) but the projects that really ‘land’ for me are when we raise vast sums of money for those who need it most, or turn around failing or indistinct NGOs. Simple answer: we’re doing it through our work, not dreaming about it.

Campaign for the University and Colleges of Cambridge, 2015

How would you define timeless design?

I used to think ‘timeless’ meant fairly minimal design, I guess exemplified by our Shelter logo — which has proven to be ‘timeless’ in that it has survived for 15 years. But now I’ve broadened my definition because unique ideas that are first to market can have the ability to become timeless, even if their design vernacular at first seems of its time.

A good example would be the Tate logo — recently tweaked but not drastically — an idea about ‘shifting focus’ that still seems relevant nearly twenty years later.

What are the big trends you have observed in your particular field?

In general, in design there’s been a lot of centred, all-caps, almost brutal style (exemplified by the design curated on It’s NiceThat).

In corporate design, simple modernist marks and sans serif logos are all the rage, so much so that pretty much everyone looks the same at the moment.

An Alphabet of Alphabets for Ravensbourne, 2011

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

In my writing and my books I’m trying to open up, share and de-mystify the creative process.

I’m hopeful that some of this is useful! In our creative work we’re always looking for new ways to solve quite thorny strategic problems so I guess I’d hope that some of that thinking and problem solving will outlive me? Maybe...

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

If a market is calling out for something disruptive and

challenging, that’s always good in my book. However just doing ‘disruptive’ for the sake of it can get you into hot water if actually producing something more ‘evolutionary’ makes more sense.

On the importance or relevance of storytelling: If you mean agreeing what an organisation stands for, and then writing brand ‘narrative’ that

Your work pays your bills, but how do you stay excited about your chosen path?

In my experience, there are still a lot of companies for whom 80% of their work (if not more) is never seen, whilst 20% is shared with the world. I was never comfortable with that ‘split’ — so we work very hard at trying to ensure that at least 80% of our work is good enough to be shared — the reverse of the norm, if you like.

Failure is something that’s inevitable

if you take risks with your work.

But never see that as a reason not to try.

Michael Johnson

Michael Johnson

When you gave your talk for Design Friends was that your first time in Luxembourg?

It was my first and I found Luxembourg, and the people I met, very charming and interesting.

I have very fond memories of my trip!

10

10 What have you recently been working on?

It’s been a busy and varied year so far — an identity for an association of historic British Houses, branding a global humanitarian organisation and more recently a very rare foray into packaging. And I’m putting the finishing touches to my third book.

What tips would you give to aspiring designers seeking a start in your particular field?

Today more than ever, what does honest design mean to you?

Well, we do it every day. The vast majority of our clients are notfor-profits, NGO’s, charities, educationalists and philanthropists.

Honesty and authenticity are almost a given in my world — people see through any ‘packaging’ very quickly.

fits — it’s really useful. But if you mean ‘storytelling’ as ‘making things up’, well that’s pretty useless. It has to be grounded in reality.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

There’s definitely an increased awareness of what branding can do, especially amongst certain key thinkers, practitioners and clients.

However, there’s still quite a lot of designers and clients out there who think that branding = logo.

That’s taking a bit of time to break down, I’ll be honest.

Good design is the intersection of strategic insight and unique design solutions.

Historic Houses Symbol, 2016

Where do you look for magic these days?

Everywhere. Exhibitions, art, architecture, music, long-form multi-part TV series, you name it.

Sadly I don’t look for magic in design very much — maybe because I want my influences to be from the outside, not the inside.

Which designer should we invite next?

That’s a good question: there are many different people working in many different styles…

Maybe someone unusual such as Kate Moross?

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would

What is your next big project?

We’re working on a very difficult project for one of the UK’s largest teacher training organisations.

If we can resolve the strategic questions well, I’m hopeful that a strong visual identity will follow.

What would you have liked to know when you first started working?

I think staying broad is a good idea in branding. Yes, learning the craft of logos and symbols is useful, of course, but understanding the wider context for this work, especially the kind of work we do, is essential. We spend just as much time on the words and strategy as the design.

you go about doing it through your field?

We’re doing our best with our client list. Yes, of course, we love doing nice little projects for cultural centres and museums (who doesn’t) but the projects that really ‘land’ for me are when we raise vast sums of money for those who need it most, or turn around failing or indistinct NGOs. Simple answer: we’re doing it through our work, not dreaming about it.

Campaign for the University and Colleges of Cambridge, 2015

How would you define timeless design?

I used to think ‘timeless’ meant fairly minimal design, I guess exemplified by our Shelter logo — which has proven to be ‘timeless’ in that it has survived for 15 years. But now I’ve broadened my definition because unique ideas that are first to market can have the ability to become timeless, even if their design vernacular at first seems of its time.

A good example would be the Tate logo — recently tweaked but not drastically — an idea about ‘shifting focus’ that still seems relevant nearly twenty years later.

What are the big trends you have observed in your particular field?

In general, in design there’s been a lot of centred, all-caps, almost brutal style (exemplified by the design curated on It’s NiceThat).

In corporate design, simple modernist marks and sans serif logos are all the rage, so much so that pretty much everyone looks the same at the moment.

An Alphabet of Alphabets for Ravensbourne, 2011

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

In my writing and my books I’m trying to open up, share and de-mystify the creative process.

I’m hopeful that some of this is useful! In our creative work we’re always looking for new ways to solve quite thorny strategic problems so I guess I’d hope that some of that thinking and problem solving will outlive me? Maybe...

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

If a market is calling out for something disruptive and

challenging, that’s always good in my book. However just doing ‘disruptive’ for the sake of it can get you into hot water if actually producing something more ‘evolutionary’ makes more sense.

On the importance or relevance of storytelling: If you mean agreeing what an organisation stands for, and then writing brand ‘narrative’ that

Your work pays your bills, but how do you stay excited about your chosen path?

In my experience, there are still a lot of companies for whom 80% of their work (if not more) is never seen, whilst 20% is shared with the world. I was never comfortable with that ‘split’ — so we work very hard at trying to ensure that at least 80% of our work is good enough to be shared — the reverse of the norm, if you like.

Failure is something that’s inevitable

if you take risks with your work.

But never see that as a reason not to try.

Michael Johnson

Michael Johnson

When you gave your talk for Design Friends was that your first time in Luxembourg?

It was my first and I found Luxembourg, and the people I met, very charming and interesting.

I have very fond memories of my trip!

10

Joachim Sauter Media Design Berlin

09 Joachim Sauter

Joachim Sauter

“If you don’t take risks then you only do what you already know and you will become irrelevant over time.”

RGBCMY (Sonar Barcelona), 2015

Joachim Sauter Media Design Berlin

09 Joachim Sauter

Joachim Sauter

“If you don’t take risks then you only do what you already know and you will become irrelevant over time.”

RGBCMY (Sonar Barcelona), 2015

09

09

What is your next big project?

I am not allowed to talk about it but it will be a killer.

Where do you look for magic these days?

Everywhere from nature to cities, from blogs to magazines, from students’ work to museum exhibitions. At the end magic finds you when your mind and eyes are open.

CasaV (Mexico City), 2016

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

It’s one of the most rewarding moments in life when someone comes to you after a lecture and tells you that you have been influencing their life or have always inspired their work.

It’s better than any design award.

Today more than ever, what does honest design mean to you?

To be open to say no (and not accepting every job).

A la recherche (LeBainDouche, Paris), 2015

What are the big trends you have observed in your particular field?

In the 80s: digitisation.

In the 90s: the Internet.

In the 00s: the virtualisation of our world.

In the 10s: the renaissance of the physical.

If you take risks, then you make mistakes, but you also develop yourself or reinvent yourself.

If you don’t take risks then you only do what you already know and you will become irrelevant over time.

ChronosXXI (Rome), 2017

Good design is the intersection of inner attitude and competence.

Failure is extremely important.

Your work pays your bills, but how do you stay excited about your chosen path?

Do what you want to do and you never have to work.

Joachim Sauter

Joachim Sauter

It’s been seven years since your talk in Luxembourg, what have you been up to in the years since?

In the last seven years I focused more and more on physical computing and did some large and small-scale kinetic poetic installations, which are computationally designed.

In a time where any information, anywhere, is accessible immediately and directly, poetry comes back into focus. It is a form of communication, which is indirect, has to be deciphered and metaphorically decoded. This goes hand in hand with a renaissance of the tangible as a reaction to the virtualisation of our world. As media designers we refocused from expressing information virtually to tangible poetry. We build spaces and experiences not any longer digitally but merge the best of the digital and the tangible world.

09

09

What is your next big project?

I am not allowed to talk about it but it will be a killer.

Where do you look for magic these days?

Everywhere from nature to cities, from blogs to magazines, from students’ work to museum exhibitions. At the end magic finds you when your mind and eyes are open.

CasaV (Mexico City), 2016

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

It’s one of the most rewarding moments in life when someone comes to you after a lecture and tells you that you have been influencing their life or have always inspired their work.

It’s better than any design award.

Today more than ever, what does honest design mean to you?

To be open to say no (and not accepting every job).

A la recherche (LeBainDouche, Paris), 2015

What are the big trends you have observed in your particular field?

In the 80s: digitisation.

In the 90s: the Internet.

In the 00s: the virtualisation of our world.

In the 10s: the renaissance of the physical.

If you take risks, then you make mistakes, but you also develop yourself or reinvent yourself.

If you don’t take risks then you only do what you already know and you will become irrelevant over time.

ChronosXXI (Rome), 2017

Good design is the intersection of inner attitude and competence.

Failure is extremely important.

Your work pays your bills, but how do you stay excited about your chosen path?

Do what you want to do and you never have to work.

Joachim Sauter

Joachim Sauter

It’s been seven years since your talk in Luxembourg, what have you been up to in the years since?

In the last seven years I focused more and more on physical computing and did some large and small-scale kinetic poetic installations, which are computationally designed.

In a time where any information, anywhere, is accessible immediately and directly, poetry comes back into focus. It is a form of communication, which is indirect, has to be deciphered and metaphorically decoded. This goes hand in hand with a renaissance of the tangible as a reaction to the virtualisation of our world. As media designers we refocused from expressing information virtually to tangible poetry. We build spaces and experiences not any longer digitally but merge the best of the digital and the tangible world.

08 Niklaus Troxler

Niklaus Troxler

Niklaus Troxler

Graphic Design Willisau

“There is only one recipe: experiment, experiment, experiment!”

©Urs Hubacher

La Ciudad Ligera, Madrid Grafica, 2017

08 Niklaus Troxler

Niklaus Troxler

Niklaus Troxler

Graphic Design Willisau

“There is only one recipe: experiment, experiment, experiment!”

©Urs Hubacher

La Ciudad Ligera, Madrid Grafica, 2017

08

08 more personal exhibitions. It seems that posters have become a more acceptable media in museums.

After that, I will have more exhibitions in Germany, China and the US: at Bröhan Museum in Berlin, the Folkwang Museum in Essen, the Modern Art Museum in Macau, the Museum for Contemporary Art in Xi’an and at STAMPS/Michigan.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

Beginners need a lot of courage today. They should try to do their own thing, and not serve the mainstream too much. There is only one recipe: experiment, experiment, experiment!

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world, how would you go about doing it through your respective field?

I don’t think that we can save the world with our designs.

But I think that we can put some signs into the world that make people think about serious problems.

Zooom (bau 4, Altbüron), 2017

Where do you look for magic these days?

I let different inputs influence me: literature, films, fine art, and of course music! I look around at what new talents are doing, and I see a very wide range of good design. I’m happy to see that today there is not one dominant style in vogue. And that’s very good!

When you gave your talk for Design Friends was that your first time in Luxembourg?

Yes, it was my first visit to Luxembourg. My journey was very impressive. I met very interested and friendly people. I have very good memories of that time.

Which designer should we invite next?

Well, there are so many great designers around today. Some designers who have impressed

Silke Eberhard (bau 4, Altbüron), 2017

This is Pan (bau 4, Altbüron), 2018

me a lot in recent times are: Dafi Kühne from Switzerland, a very special guy: he works with old-fashioned letter print, has a great collection of wood and led type, but he does not work in a traditional style but very “en vogue”. He is very special and shows us, that handmade design can still be great!

Other great and outstanding designers are Ariane Spanier from Berlin. She designs great books, magazines, corporate designs and posters.

Another guy is from Lucerne : Erich Brechbühl/Mixer. He is very active as a design networker

(he organises the Weltformat poster festival in Lucerne every year) and a great designer.

Let’s not forget my own daughters: Annik Troxler and Paula Troxler.

You can find their great work on their websites.

As an illustrator I would say Paul Cox from Paris. All do great work!

What is your next big project?

I can do a couple of CD covers for different labels. I’m glad that the CD is not dead yet. In my career I did many LP covers as well as CD covers. These are great jobs, because they’re for music, which I like very much. I will have some

Niklaus Troxler

Niklaus Troxler

Since you came to Luxembourg in 2011, what have you been up to?

I went on teaching at the Academy for Art and Design in Stuttgart, Germany, until the summer of 2013. I also continued to organise jazz concerts in my hometown Willisau, Switzerland, for which I have always designed a poster.

From 2014 on, I got a new client: I designed 6 posters a year to announce jazz concerts at bau 4 in Altbüron.This client left me all the freedom to design the posters the way I want. It is a great job, indeed! Since I retired from teaching, I do more artwork.

I discovered plastic tape, which I got in the facility shop, and create pictures with it: compositions, improvisations — sometimes colourful, sometimes just black and white. This work influenced my applied work a lot, so I found new directions in my design.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I hope that my designs are able to touch some people.

Today more than ever, what does honest design mean to you?

A good design has to touch me.

If it touches my heart, my body or feelings — then it’s all right!

What are the big trends you have observed in your particular field?

I don’t think that I set trends.

But I think that I have been an example that shows how personal expression can communicate with our world. Whenever I give talks all over the world — in Asia as well as in Latin America or Europe — I see that the audience can understand my work.

Skein Quartet (bau 4, Altbüron), 2018

08

08 more personal exhibitions. It seems that posters have become a more acceptable media in museums.

After that, I will have more exhibitions in Germany, China and the US: at Bröhan Museum in Berlin, the Folkwang Museum in Essen, the Modern Art Museum in Macau, the Museum for Contemporary Art in Xi’an and at STAMPS/Michigan.

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

Beginners need a lot of courage today. They should try to do their own thing, and not serve the mainstream too much. There is only one recipe: experiment, experiment, experiment!

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world, how would you go about doing it through your respective field?

I don’t think that we can save the world with our designs.

But I think that we can put some signs into the world that make people think about serious problems.

Zooom (bau 4, Altbüron), 2017

Where do you look for magic these days?

I let different inputs influence me: literature, films, fine art, and of course music! I look around at what new talents are doing, and I see a very wide range of good design. I’m happy to see that today there is not one dominant style in vogue. And that’s very good!

When you gave your talk for Design Friends was that your first time in Luxembourg?

Yes, it was my first visit to Luxembourg. My journey was very impressive. I met very interested and friendly people. I have very good memories of that time.

Which designer should we invite next?

Well, there are so many great designers around today. Some designers who have impressed

Silke Eberhard (bau 4, Altbüron), 2017

This is Pan (bau 4, Altbüron), 2018

me a lot in recent times are: Dafi Kühne from Switzerland, a very special guy: he works with old-fashioned letter print, has a great collection of wood and led type, but he does not work in a traditional style but very “en vogue”. He is very special and shows us, that handmade design can still be great!

Other great and outstanding designers are Ariane Spanier from Berlin. She designs great books, magazines, corporate designs and posters.

Another guy is from Lucerne : Erich Brechbühl/Mixer. He is very active as a design networker

(he organises the Weltformat poster festival in Lucerne every year) and a great designer.

Let’s not forget my own daughters: Annik Troxler and Paula Troxler.

You can find their great work on their websites.

As an illustrator I would say Paul Cox from Paris. All do great work!

What is your next big project?

I can do a couple of CD covers for different labels. I’m glad that the CD is not dead yet. In my career I did many LP covers as well as CD covers. These are great jobs, because they’re for music, which I like very much. I will have some

Niklaus Troxler

Niklaus Troxler

Since you came to Luxembourg in 2011, what have you been up to?

I went on teaching at the Academy for Art and Design in Stuttgart, Germany, until the summer of 2013. I also continued to organise jazz concerts in my hometown Willisau, Switzerland, for which I have always designed a poster.

From 2014 on, I got a new client: I designed 6 posters a year to announce jazz concerts at bau 4 in Altbüron.This client left me all the freedom to design the posters the way I want. It is a great job, indeed! Since I retired from teaching, I do more artwork.

I discovered plastic tape, which I got in the facility shop, and create pictures with it: compositions, improvisations — sometimes colourful, sometimes just black and white. This work influenced my applied work a lot, so I found new directions in my design.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I hope that my designs are able to touch some people.

Today more than ever, what does honest design mean to you?

A good design has to touch me.

If it touches my heart, my body or feelings — then it’s all right!

What are the big trends you have observed in your particular field?

I don’t think that I set trends.

But I think that I have been an example that shows how personal expression can communicate with our world. Whenever I give talks all over the world — in Asia as well as in Latin America or Europe — I see that the audience can understand my work.

Skein Quartet (bau 4, Altbüron), 2018

07

5.5 Designers

Product Design Paris

5.5 Designers

5.5 Designers

“You have to be willing to expose yourself, at the risk of flirting too closely with tackiness - the result may be surprising, interesting and unexpected.”

Anthony Lebossé, Vincent Baranger, Jean-Sébastien Blanc, Claire Renard

Atelier Tarkett offices, 2017

07

5.5 Designers

Product Design Paris

5.5 Designers

5.5 Designers

“You have to be willing to expose yourself, at the risk of flirting too closely with tackiness - the result may be surprising, interesting and unexpected.”

Anthony Lebossé, Vincent Baranger, Jean-Sébastien Blanc, Claire Renard

Atelier Tarkett offices, 2017

07

07

When you gave your talk for Design Friends, was that your first time in Luxembourg?

When I first came at the invitation of Design Friends, it was also my first time in Luxembourg.

I was curious to see what one of the smallest countries in Europe had to offer. Talking about clichés, on my inbound journey, customs went through my bag, so I thought there must really be people who travel with their bags full of cash into the country! On a serious note, the reception was great and warm and I was really struck by how international the city is and how every person speaks at least three languages.

A small country, but a very open one.

What is your next big project?

We have a mix of big and small projects in the works.

We are currently working with our Belgian neighbours on reimagining the Duvel beer brand.

We have also just inaugurated our first restaurant called “Da me,” an ode to the charming founder, who is a lady, and it also means “at my place” in Italian.

At the same time, we are developing a new concept with the Accor hotel group. Finally, with Nature & Découvertes we are developing a collection of objects with a DIY spirit for kids.

of a product, the way it has been produced and are a little more committed to the choices they make. Of course, you have to stay truthful and not just make up a story as you go along.

La Liseuse de Poche Nolim, 2017

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

Don’t listen to designers who are 15 years older than you!

constraints and allow us to develop ideas that reflect on our society, consumption and our relationship to objects. Very few of these objects will end up being “used” but they still inspire and touch many people because of the exposure they get.

Parallel to this we have always tried

Good design is the intersection of obviousness and meaning.

(if possible with a touch of humour!)

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

People are at the core of our creations; we design things for them first and foremost, before thinking about businesses and brands… which isn’t always easy because the latter are our clients. The most rewarding part of our work will always be the reaction of the public.

Since the beginning we have always tried to work on two types of projects. Some projects are much more experimental, with a short run but that grab a lot of media attention. These are devoid of industrial or commercial

to make design more democratic by working with brands like LaCie, Moulinex, Nespresso and Jacquet.

It’s design for everyday life.

If through the packaging we make for bread we brighten up someone’s breakfast then things are going well.

On the importance or relevance of storytelling: There’s been a lot of talk about storytelling these last few years, maybe even too much of it. But it’s still very important for us. It serves as a first filter that can indicate whether a creation is relevant or not. If the design doesn’t say anything, then you can question its existence. It’s also a means to give some meaning to consumption.

People are interested in the origin

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your respective field? (I don’t mean in a superhero kind of way — though why not if that is something you fantasise about — but rather a way to focus attention, or provoke, or bring about grand-scale change.)

Saving the planet as a designer can be slightly contradictory.

We spend our time creating new objects and spaces and as such inherently contributing to consumer society. If we were really radical, then we would have to maybe abandon our careers or work exclusively for clients who are committed to this battle.

That, however, would do nothing to change the bulk of production.

We have opted for changing things from within, meaning working with the industry and changing behaviours slowly.

It’s a type of activism as an insider that brings with it a lot of frustration because clearly we are not the only decision-makers.

The battle is made up of many small victories that can trigger change: reducing the amount of material used to make a product, choosing one material over another, finding a local partner instead of producing on the other side of the world. Slowly but surely things move forward.

Do you feel like in the past decade there has been an increased interest in design and if so why do you think that is?

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

When we first started out, 15 years ago, too many companies only thought about design when things were going downhill for them and they needed a fresh idea, or when they needed to do a temporary communication stunt. Today, design has become an essential part of the creation of any company or brand. A few brands and their success stories, like Apple or Airbnb, really put the importance of design to the forefront in stressing its strategic role. Every start-up will now integrate design in its make-up.

As a result even big companies are taking inspiration from start-ups and engaging in design. That said, design shouldn’t just be a touch of glamour that is painted on at the end of a project. That’s superficial. It’s important to weave in the thoughts of the designer at the beginning of a project.

We try to build strong and lasting relationships with our clients and be involved in implementing the strategy of a company or brand.

We often create the brief together, to ensure that it provides the right foundation.

at the risk of flirting too closely with tackiness — the result may be surprising, interesting and unexpected.

Accessories Pixies (Espresso Decafeeinato)

Your work pays your bills, but how do you stay excited about your chosen path?

It’s all about the encounters.

In our work we get to meet an artisan in his studio one day, a CEO of a company another day, followed by the founders of a start-up… it makes us feel like we work in 10 different companies throughout the year.

Failure is a necessary step.

The fear of making a mistake will keep you from doing anything and you only end up reproducing what is already out there. You have to be willing to expose yourself,

Atelier Tarkett visual identity, 2017

5.5 Designers

5.5 Designers

It’s been 7 years since you’ve been in Luxembourg, what have you been up to in the years since?

In the past 7 years, 5.5 has really evolved. We have developed the collective within the studio.

We now have 4 major specialisations: visual identity, packaging, product and spatial design. This evolution came about naturally, because we have always looked at design as a whole, without setting limits for ourselves. That said we have maintained the same mindset and talk about a collective studio.

The idea is to gather talents from a range of disciplines under one umbrella and better assist companies, brands and institutions with a well-rounded perspective.

07

07

When you gave your talk for Design Friends, was that your first time in Luxembourg?

When I first came at the invitation of Design Friends, it was also my first time in Luxembourg.

I was curious to see what one of the smallest countries in Europe had to offer. Talking about clichés, on my inbound journey, customs went through my bag, so I thought there must really be people who travel with their bags full of cash into the country! On a serious note, the reception was great and warm and I was really struck by how international the city is and how every person speaks at least three languages.

A small country, but a very open one.

What is your next big project?

We have a mix of big and small projects in the works.

We are currently working with our Belgian neighbours on reimagining the Duvel beer brand.

We have also just inaugurated our first restaurant called “Da me,” an ode to the charming founder, who is a lady, and it also means “at my place” in Italian.

At the same time, we are developing a new concept with the Accor hotel group. Finally, with Nature & Découvertes we are developing a collection of objects with a DIY spirit for kids.

of a product, the way it has been produced and are a little more committed to the choices they make. Of course, you have to stay truthful and not just make up a story as you go along.

La Liseuse de Poche Nolim, 2017

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

Don’t listen to designers who are 15 years older than you!

constraints and allow us to develop ideas that reflect on our society, consumption and our relationship to objects. Very few of these objects will end up being “used” but they still inspire and touch many people because of the exposure they get.

Parallel to this we have always tried

Good design is the intersection of obviousness and meaning.

(if possible with a touch of humour!)

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

People are at the core of our creations; we design things for them first and foremost, before thinking about businesses and brands… which isn’t always easy because the latter are our clients. The most rewarding part of our work will always be the reaction of the public.

Since the beginning we have always tried to work on two types of projects. Some projects are much more experimental, with a short run but that grab a lot of media attention. These are devoid of industrial or commercial

to make design more democratic by working with brands like LaCie, Moulinex, Nespresso and Jacquet.

It’s design for everyday life.

If through the packaging we make for bread we brighten up someone’s breakfast then things are going well.

On the importance or relevance of storytelling: There’s been a lot of talk about storytelling these last few years, maybe even too much of it. But it’s still very important for us. It serves as a first filter that can indicate whether a creation is relevant or not. If the design doesn’t say anything, then you can question its existence. It’s also a means to give some meaning to consumption.

People are interested in the origin

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your respective field? (I don’t mean in a superhero kind of way — though why not if that is something you fantasise about — but rather a way to focus attention, or provoke, or bring about grand-scale change.)

Saving the planet as a designer can be slightly contradictory.

We spend our time creating new objects and spaces and as such inherently contributing to consumer society. If we were really radical, then we would have to maybe abandon our careers or work exclusively for clients who are committed to this battle.

That, however, would do nothing to change the bulk of production.

We have opted for changing things from within, meaning working with the industry and changing behaviours slowly.

It’s a type of activism as an insider that brings with it a lot of frustration because clearly we are not the only decision-makers.

The battle is made up of many small victories that can trigger change: reducing the amount of material used to make a product, choosing one material over another, finding a local partner instead of producing on the other side of the world. Slowly but surely things move forward.

Do you feel like in the past decade there has been an increased interest in design and if so why do you think that is?

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

When we first started out, 15 years ago, too many companies only thought about design when things were going downhill for them and they needed a fresh idea, or when they needed to do a temporary communication stunt. Today, design has become an essential part of the creation of any company or brand. A few brands and their success stories, like Apple or Airbnb, really put the importance of design to the forefront in stressing its strategic role. Every start-up will now integrate design in its make-up.

As a result even big companies are taking inspiration from start-ups and engaging in design. That said, design shouldn’t just be a touch of glamour that is painted on at the end of a project. That’s superficial. It’s important to weave in the thoughts of the designer at the beginning of a project.

We try to build strong and lasting relationships with our clients and be involved in implementing the strategy of a company or brand.

We often create the brief together, to ensure that it provides the right foundation.

at the risk of flirting too closely with tackiness — the result may be surprising, interesting and unexpected.

Accessories Pixies (Espresso Decafeeinato)

Your work pays your bills, but how do you stay excited about your chosen path?

It’s all about the encounters.

In our work we get to meet an artisan in his studio one day, a CEO of a company another day, followed by the founders of a start-up… it makes us feel like we work in 10 different companies throughout the year.

Failure is a necessary step.

The fear of making a mistake will keep you from doing anything and you only end up reproducing what is already out there. You have to be willing to expose yourself,

Atelier Tarkett visual identity, 2017

5.5 Designers

5.5 Designers

It’s been 7 years since you’ve been in Luxembourg, what have you been up to in the years since?

In the past 7 years, 5.5 has really evolved. We have developed the collective within the studio.

We now have 4 major specialisations: visual identity, packaging, product and spatial design. This evolution came about naturally, because we have always looked at design as a whole, without setting limits for ourselves. That said we have maintained the same mindset and talk about a collective studio.

The idea is to gather talents from a range of disciplines under one umbrella and better assist companies, brands and institutions with a well-rounded perspective.

06

Kustaa Saksi

Illustration Amsterdam

Kustaa Saksi

“I think it’s always thrilling to find new ways of working and pulling yourself away from the hard-earned comfort zone.”

© Jussi Puikkonen

Herbarium of Dreams tapestry (in Teylers Museum, Haarlem)

06

Kustaa Saksi

Illustration Amsterdam

Kustaa Saksi

“I think it’s always thrilling to find new ways of working and pulling yourself away from the hard-earned comfort zone.”

© Jussi Puikkonen

Herbarium of Dreams tapestry (in Teylers Museum, Haarlem)

06

06 How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I don’t find it too relevant to think about my “legacy,” but it’s always an honour when people feel something when looking at my art, and then share their experience.

I find it really rewarding, and inspiring.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your respective field?

I’d weave more softness to this world using mohair, alpaca and fluffy wool. So that people could hug, cuddle and squeeze them.

In the Crown of a Tree serigraphy

Good design is the intersection of skill and mistake.

Failure is the road to something unpredictable and exciting.

© Jussi Puikkonen

People are discussing design voluntarily during their lunch breaks — it has become a consumer topic. It’s lost its authority and prestige, maybe, but that’s just a good thing, I think.

Your work pays your bills, but how do you stay excited about your chosen path?

I think it’s always thrilling to find new ways of working and pulling yourself away from the hard-earned comfort zone. I like to find myself in the middle of trouble, working my way out.

In the Fish Trap tapestry (in Teylers Museum, Haarlem)

It’s been a few years since you’ve come to Luxembourg, what have you been up to since?

I’ve been busy weaving tapestries, designing patterns and fabrics and exhibiting my works around the world. I took part in the Victoria & Albert Museum’s Collecting Europe exhibition, Cooper Hewitt Smithsonian Design Museum’s Design Triennial, and am now preparing for the forthcoming Riga International Biennial of Contemporary Art along with solo exhibitions in various galleries.

around you. Take a lot of walks and spend minimal time at the studio behind the screen.

Today more than ever, what does honest design mean to you?

You see a lot of beautiful, technically impeccable eye candy nowadays, but you can easily tell if an artist has put her/his soul into it when you see their work.

In the end, you can always spot an honest, meaningful work.

What are the big trends you have observed in your particular field?

Unfortunately, I’m a bit out of trends so it’s difficult to say.

Tapestries in Wall Street office, New York

© Marimekko

How would you define timeless design?

For me, timeless design is something I personally, honestly, deeply like, regardless of other people’s verdict.

© Mark Wickens

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

Find your own voice. Don’t pay too much attention to what’s going on

Kustaa Saksi

Kustaa Saksi

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

A work can draw attention in so many different ways. It usually doesn’t have to scream.

© Jussi Tiainen

Where do you look for magic these days?

My son, actually. Kids’ imagination makes me jealous.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is? Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

I think it’s about education.

Now everyone thinks good design matters (as does bad design).

Merivuokko (Fabric for Marimekko)

06

06 How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I don’t find it too relevant to think about my “legacy,” but it’s always an honour when people feel something when looking at my art, and then share their experience.

I find it really rewarding, and inspiring.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world/planet, how would you go about doing it through your respective field?

I’d weave more softness to this world using mohair, alpaca and fluffy wool. So that people could hug, cuddle and squeeze them.

In the Crown of a Tree serigraphy

Good design is the intersection of skill and mistake.

Failure is the road to something unpredictable and exciting.

© Jussi Puikkonen

People are discussing design voluntarily during their lunch breaks — it has become a consumer topic. It’s lost its authority and prestige, maybe, but that’s just a good thing, I think.

Your work pays your bills, but how do you stay excited about your chosen path?

I think it’s always thrilling to find new ways of working and pulling yourself away from the hard-earned comfort zone. I like to find myself in the middle of trouble, working my way out.

In the Fish Trap tapestry (in Teylers Museum, Haarlem)

It’s been a few years since you’ve come to Luxembourg, what have you been up to since?

I’ve been busy weaving tapestries, designing patterns and fabrics and exhibiting my works around the world. I took part in the Victoria & Albert Museum’s Collecting Europe exhibition, Cooper Hewitt Smithsonian Design Museum’s Design Triennial, and am now preparing for the forthcoming Riga International Biennial of Contemporary Art along with solo exhibitions in various galleries.

around you. Take a lot of walks and spend minimal time at the studio behind the screen.

Today more than ever, what does honest design mean to you?

You see a lot of beautiful, technically impeccable eye candy nowadays, but you can easily tell if an artist has put her/his soul into it when you see their work.

In the end, you can always spot an honest, meaningful work.

What are the big trends you have observed in your particular field?

Unfortunately, I’m a bit out of trends so it’s difficult to say.

Tapestries in Wall Street office, New York

© Marimekko

How would you define timeless design?

For me, timeless design is something I personally, honestly, deeply like, regardless of other people’s verdict.

© Mark Wickens

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

Find your own voice. Don’t pay too much attention to what’s going on

Kustaa Saksi

Kustaa Saksi

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

A work can draw attention in so many different ways. It usually doesn’t have to scream.

© Jussi Tiainen

Where do you look for magic these days?

My son, actually. Kids’ imagination makes me jealous.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is? Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

I think it’s about education.

Now everyone thinks good design matters (as does bad design).

Merivuokko (Fabric for Marimekko)

05 Harri Peccinotti

Photography Paris

Harri Peccinotti Cover for number ‘O’ of 7post magazine, 2013

Harri Peccinotti

“You try to inspire yourself, or stay inspired to do what you do and hope by luck that somebody else likes it.”

05 Harri Peccinotti

Photography Paris

Harri Peccinotti Cover for number ‘O’ of 7post magazine, 2013

Harri Peccinotti

“You try to inspire yourself, or stay inspired to do what you do and hope by luck that somebody else likes it.”

05

When you first started out you were designing art works with a background in graphic design, then went into art direction and finally settled on photography. Can you take us through the journey?

I started in a sort of factory design department and I learned lettering.

At that time there was no letter set, so everything had to be done by hand, all the roughs were hand lettered and drawings of pictures…

They had a camera in the department and so you had to learn to do everything. By luck, the people I worked with were very good designers and painters. There were a lot of painters who did designs, so it had more of an art vibe to it.

I learned to do most things, handling a complete rough from beginning to end. That’s how it started, but it has gone on like that, (apart from a break being a musician). I have continuously done the same things from record sleeve design on to advertising, and then magazine design. All the while, I was taking photographs at the same time.

It did become more photographic around the 60s and 70s but my main interest was always in graphic design and photography together.

So, you essentially stumbled upon it?

Yes, I did, I left school at 14.

My teacher thought I was good at drawing then. The expectation at the time was that you would sort

Lollipop, a Formula1 ‘Grand Prix’ (in collaboration with Thomas Schwab), 2015

Do you have a problem with the fact that when we hear the name Harri Peccinotti, we think very specifically about a very sensual aesthetic?

Yes, that’s absolutely crazy because if you see the majority of my work, it has nothing to do with that.That’s what the media love. If a magazine calls me up, it’s because they want to talk about Nova and Pirelli and then they want to see pictures of girls with no clothes on.

of go work in a factory, but she had a husband who was the chief of this art department and she told me to go see him with my drawings.

So, I went to this man who was a Royal Academician. I got the job.

Is there any period that you look back at with particular fondness?

I suppose the 60s were really pivotal.

There was a big upheaval in design.

It was a break from the fact that advertising was aimed at wealthy people and then suddenly it was aimed at people on the street.

There were so many freedoms that were coming along. There was a big change then. There is a big change now I suppose but it’s not improving the graphic design.

I don’t really like the technological revolution too much. I am forced to use it. But I find that it makes you have to do too many things.

Nova was a revolutionary magazine both in content and aesthetics. Let’s talk about that.

It was a time when graphic designers were fed up with advertising design, they sort of moved into magazines because it was giving them a lot more freedom. Magazines were changing a lot too. It was very free.

When Nova arrived, it was just designed in the spirit of the time.

I, myself, was much tougher then.

I was much more argumentative and forced through what I thought was right or wrong.

Cover for Nova, 1966

At the time were you very much visually influenced by the type of content you were producing?

Oh, yeah sure. I think that’s part of the designer’s remit. Sometimes you have to read what is written.

It was a test magazine to see if putting some intellect into it would work. We only added the fashion to put some coloured pages in amongst the text and were given a lot of freedom creatively.

When it began to break even, the company suddenly became interested in it. Then they started to bring in their influence and that’s what eventually killed it.

Do you feel like we are going back to a certain Puritanism?

I don’t think so. Now, the control is coming from money. The fashion industry controls the editorial.

When I do a story, there is a whole list of things that have to get into the picture to please advertisers.

The fashion editor now has a lot less creative power. It seems not quite so free as it was because everything is controlled by business.

What are you inspired by?

I am still very inspired by movements like dada, Bauhaus…

Back in the day you could dabble in all of these different artistic expressions, now every one sort of follows one path, even down to being called a certain kind of photographer.

What does your personal work entail?

Street photography, still lives.

I photograph birds, bugs and leaves. I am into the graphics of nature a lot at the moment.

I am taking microscopic pictures.

I am much more interested in nature than I am in naked girls… probably because I am bloody 80.

What is your next big project?

I am working on a book that covers a wider range of my photographic work and an exhibition.

Today more than ever, what does honest design/photography mean to you?

I am not sure what honesty is anymore. Design is honest when it is done with honesty, in fact, when you stay simple but have an impact.

Harri Peccinotti

Harri Peccinotti

05

7000 Magazine (Shoe Story), 2012

Failure is when the client tries

to change your work, after they had given you a free hand.

How would you define timeless imagery?

Lots of things have stood the test of time, cars, some graphic design pieces… things that I find just as beautiful today.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

Sometimes I try to make political statements, but I don’t think about

it much ahead of time. It just comes together at the time.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I don’t really think about that.

You try to inspire yourself, or stay inspired to do what you do and hope by luck that somebody else likes it.

What advice would you give to aspiring designers/ photographers seeking a start in your particular field?

Don’t do it! (laughs) I don’t mean that. I would say not to take too much notice of market research and what people tell you should be done, but stay true to what you think.

On the importance or relevance of storytelling: It’s quite important, but it is hard to do nowadays in editorial.

How do you stay excited about your chosen path?

Just by being around. I can’t stop looking around me and taking everything in.

05

When you first started out you were designing art works with a background in graphic design, then went into art direction and finally settled on photography. Can you take us through the journey?

I started in a sort of factory design department and I learned lettering.

At that time there was no letter set, so everything had to be done by hand, all the roughs were hand lettered and drawings of pictures…

They had a camera in the department and so you had to learn to do everything. By luck, the people I worked with were very good designers and painters. There were a lot of painters who did designs, so it had more of an art vibe to it.

I learned to do most things, handling a complete rough from beginning to end. That’s how it started, but it has gone on like that, (apart from a break being a musician). I have continuously done the same things from record sleeve design on to advertising, and then magazine design. All the while, I was taking photographs at the same time.

It did become more photographic around the 60s and 70s but my main interest was always in graphic design and photography together.

So, you essentially stumbled upon it?

Yes, I did, I left school at 14.

My teacher thought I was good at drawing then. The expectation at the time was that you would sort

Lollipop, a Formula1 ‘Grand Prix’ (in collaboration with Thomas Schwab), 2015

Do you have a problem with the fact that when we hear the name Harri Peccinotti, we think very specifically about a very sensual aesthetic?

Yes, that’s absolutely crazy because if you see the majority of my work, it has nothing to do with that.That’s what the media love. If a magazine calls me up, it’s because they want to talk about Nova and Pirelli and then they want to see pictures of girls with no clothes on.

of go work in a factory, but she had a husband who was the chief of this art department and she told me to go see him with my drawings.

So, I went to this man who was a Royal Academician. I got the job.

Is there any period that you look back at with particular fondness?

I suppose the 60s were really pivotal.

There was a big upheaval in design.

It was a break from the fact that advertising was aimed at wealthy people and then suddenly it was aimed at people on the street.

There were so many freedoms that were coming along. There was a big change then. There is a big change now I suppose but it’s not improving the graphic design.

I don’t really like the technological revolution too much. I am forced to use it. But I find that it makes you have to do too many things.

Nova was a revolutionary magazine both in content and aesthetics. Let’s talk about that.

It was a time when graphic designers were fed up with advertising design, they sort of moved into magazines because it was giving them a lot more freedom. Magazines were changing a lot too. It was very free.

When Nova arrived, it was just designed in the spirit of the time.

I, myself, was much tougher then.

I was much more argumentative and forced through what I thought was right or wrong.

Cover for Nova, 1966

At the time were you very much visually influenced by the type of content you were producing?

Oh, yeah sure. I think that’s part of the designer’s remit. Sometimes you have to read what is written.

It was a test magazine to see if putting some intellect into it would work. We only added the fashion to put some coloured pages in amongst the text and were given a lot of freedom creatively.

When it began to break even, the company suddenly became interested in it. Then they started to bring in their influence and that’s what eventually killed it.

Do you feel like we are going back to a certain Puritanism?

I don’t think so. Now, the control is coming from money. The fashion industry controls the editorial.

When I do a story, there is a whole list of things that have to get into the picture to please advertisers.

The fashion editor now has a lot less creative power. It seems not quite so free as it was because everything is controlled by business.

What are you inspired by?

I am still very inspired by movements like dada, Bauhaus…

Back in the day you could dabble in all of these different artistic expressions, now every one sort of follows one path, even down to being called a certain kind of photographer.

What does your personal work entail?

Street photography, still lives.

I photograph birds, bugs and leaves. I am into the graphics of nature a lot at the moment.

I am taking microscopic pictures.

I am much more interested in nature than I am in naked girls… probably because I am bloody 80.

What is your next big project?

I am working on a book that covers a wider range of my photographic work and an exhibition.

Today more than ever, what does honest design/photography mean to you?

I am not sure what honesty is anymore. Design is honest when it is done with honesty, in fact, when you stay simple but have an impact.

Harri Peccinotti

Harri Peccinotti

05

7000 Magazine (Shoe Story), 2012

Failure is when the client tries

to change your work, after they had given you a free hand.

How would you define timeless imagery?

Lots of things have stood the test of time, cars, some graphic design pieces… things that I find just as beautiful today.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

Sometimes I try to make political statements, but I don’t think about

it much ahead of time. It just comes together at the time.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

I don’t really think about that.

You try to inspire yourself, or stay inspired to do what you do and hope by luck that somebody else likes it.

What advice would you give to aspiring designers/ photographers seeking a start in your particular field?

Don’t do it! (laughs) I don’t mean that. I would say not to take too much notice of market research and what people tell you should be done, but stay true to what you think.

On the importance or relevance of storytelling: It’s quite important, but it is hard to do nowadays in editorial.

How do you stay excited about your chosen path?

Just by being around. I can’t stop looking around me and taking everything in.

04

Andreas Uebele Signage Design Stuttgart

Andreas Uebele

Andreas Uebele

“We’re the tailors disguising the humped back so that viewers can see the beautiful soul within.”

© Büro uebele visuelle kommunikation, Photographer: Brigida Gonz.lez

Spatial and interior design for Adidas gym, (Adidas AG), 2014

04

Andreas Uebele Signage Design Stuttgart

Andreas Uebele

Andreas Uebele

“We’re the tailors disguising the humped back so that viewers can see the beautiful soul within.”

© Büro uebele visuelle kommunikation, Photographer: Brigida Gonz.lez

Spatial and interior design for Adidas gym, (Adidas AG), 2014

04

04 What have you been up to in the eight years since you came to Luxembourg?

Typeface painting.

Letter drawing.

Book devising.

Sign writing.

Way-finding.

of the matter, will inevitably collapse at some point. Unlike the poetry of continuing something that already exists, in order to present the story in a new way.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world, how would you go about doing it through your respective field?

Good design doesn’t save the world but makes its demise more beautiful (thanks to Hasi).

What is your next big project?

More craziness.

More calm.

More energy.

More delicacy.

More simplicity.

More variety.

More layers.

Where do you look for magic these days?

Magic is that moment when the problem resolves itself, when there’s a breakthrough, when after going round and round in circles, looking at it from all angles, suddenly — spontaneously, it seems — the form reveals itself.

Corporate design for the Bauhaus Museum Weimar (Klassik Stiftung Weimar), 2015

What would you have liked to know when you first started working?

That you have to pay back the VAT at some stage (after you’ve spent it, unfortunately) and that you have to pay tax on your profits at year-end: get a tax adviser from the start.

Today more than ever, what does honest design mean to you?

Honest design is difficult.

It’s a tough journey. Honest design happens when you look at things impartially, explore them and then evaluate them. This unbiased, precise observation allows you to ask questions which lead to a solution that’s honest, believable and therefore beautiful: what lies hidden within these things?

What’s the outer shell and what’s the core? What can stay and what needs to go? The essence of things

becomes clear when you engage yourself with them. First, any imprecise instructions or contradictory aims need to be clarified. Honestly explaining these findings — which might well be surprising or unwelcome as far as the client is concerned — is often a painful process.

Designers also need to ask themselves uncomfortable questions and answer them honestly: does this form really suit the client? Is the garment you’ve created for them flattering — without looking like a disguise?

Is the fabric robust, durable?

Is it beautiful? Will the cut still be wearable in ten, twenty years time?

When something can only look the way it does in this specific place, for this specific individual, for this company, at precisely this time — then it’s honest design.

When it feels good, when it’s usable and beautiful, or when it’s contrary, challenging, and says what needs to be said. When all the questions are answered and the form is logical; when we believe in it, because it moves us.

On the importance or relevance of storytelling: Every product, every company, already has a story. It might be hidden under a layer of vanity, under the noise of desire — what they would like to be but never will be, or what they think they should be. Most stories are there already, you can’t — you don’t have to — invent them, you just have to bring them to light, make them visible, and recount them clearly. That’s visual communication.

Invented stories, a preposterous tissue of lies obscuring the essence

Andreas Uebele

What are the big trends you have observed in your particular field?

Trend? What is a trend?

What everyone’s doing?

Do we want to do what everyone’s doing or follow our own path?

Isn’t it much more interesting to swim against the tide, to go against the grain, to ask uncomfortable questions? A trend is an easy way out, a comfortable avoidance of work and thought. It is the opposite of how honest design comes about.

How would you define timeless design?

Timeless design is a misconception linked perhaps to our fear of impermanence (grateful to Andreas Cukrowicz, who made him aware of this perspective.). Maybe this is why we find it uncomfortable to think about how things age and so find ourselves wishing for timeless design. Yet objects — or their external image — are as intrinsically fragile as human beings themselves, a fact we’d really rather not face. The concept of timeless design is often used as a pretext for not engaging deeply enough with the matter at hand, as a way of saving time and work. The dull result then has the label “timeless”

Good design is the intersection of beauty and fragility.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

VIEWERS! ABSOLUTELY! MUST! NOTICE! OUR WORK! Because after all we’ve invested a lot of time in it.

It’s beautiful! It’s magnificent!

It works when viewers like it.

So, we want them to please look at it, and we do everything we can to make this happen. We make it big and bold or maybe soft and subtle, but always insistently, pointedly so.

Yes, we’re the experts in surfaces, visual seducers, tricksters and deceivers, showing beautiful external wrappings in order to reveal the inner depths. We are the tailors disguising the humped back so that viewers can see the beautiful soul within.

affixed to it to confer an air of nobility. In order to be something special, design can and must be absolutely tied to its own time.

Outstanding works of the past are still beautiful today, but they are, precisely, not timeless: we see in them the period in which they were created, they are children of their time, magnificent witnesses.

Your work pays your bills, but how do you stay excited about your chosen path?

I’ll keep on following the same path, just as before, trying to make beautiful things.

Andreas Uebele

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

This is important to me: that we can — we must — instill an idea within the objects we create, that we mustn’t produce anything soulless, but should create something that has an intrinsic character, beyond its immediate purpose. Things like this can enhance our everyday lives, accompanying us like helpful or comforting spirits; we can learn from them, they impart their essence to us, whether this essence is smart, austere (or humorous).

This essence, this character, can be found in a typeface, a tool, or a building. Our task is to become aware of this intrinsic idea and give it an appropriate form, because then the things we make are not just beautiful but also testaments — to delight and care, to conflict and reconciliation.

© Büro uebele visuelle kommunikation, Photographer: Christian Lindermann

What tips would you give to aspiring designers seeking a start in your particular field?

Be fearless.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

More value appreciation, less value creation.

04

04 What have you been up to in the eight years since you came to Luxembourg?

Typeface painting.

Letter drawing.

Book devising.

Sign writing.

Way-finding.

of the matter, will inevitably collapse at some point. Unlike the poetry of continuing something that already exists, in order to present the story in a new way.

One of the ideas that generally defines design is the notion of improving life, let’s extend that idea within the current depressing climate: If you were given the mission to save the world, how would you go about doing it through your respective field?

Good design doesn’t save the world but makes its demise more beautiful (thanks to Hasi).

What is your next big project?

More craziness.

More calm.

More energy.

More delicacy.

More simplicity.

More variety.

More layers.

Where do you look for magic these days?

Magic is that moment when the problem resolves itself, when there’s a breakthrough, when after going round and round in circles, looking at it from all angles, suddenly — spontaneously, it seems — the form reveals itself.

Corporate design for the Bauhaus Museum Weimar (Klassik Stiftung Weimar), 2015

What would you have liked to know when you first started working?

That you have to pay back the VAT at some stage (after you’ve spent it, unfortunately) and that you have to pay tax on your profits at year-end: get a tax adviser from the start.

Today more than ever, what does honest design mean to you?

Honest design is difficult.

It’s a tough journey. Honest design happens when you look at things impartially, explore them and then evaluate them. This unbiased, precise observation allows you to ask questions which lead to a solution that’s honest, believable and therefore beautiful: what lies hidden within these things?

What’s the outer shell and what’s the core? What can stay and what needs to go? The essence of things

becomes clear when you engage yourself with them. First, any imprecise instructions or contradictory aims need to be clarified. Honestly explaining these findings — which might well be surprising or unwelcome as far as the client is concerned — is often a painful process.

Designers also need to ask themselves uncomfortable questions and answer them honestly: does this form really suit the client? Is the garment you’ve created for them flattering — without looking like a disguise?

Is the fabric robust, durable?

Is it beautiful? Will the cut still be wearable in ten, twenty years time?

When something can only look the way it does in this specific place, for this specific individual, for this company, at precisely this time — then it’s honest design.

When it feels good, when it’s usable and beautiful, or when it’s contrary, challenging, and says what needs to be said. When all the questions are answered and the form is logical; when we believe in it, because it moves us.

On the importance or relevance of storytelling: Every product, every company, already has a story. It might be hidden under a layer of vanity, under the noise of desire — what they would like to be but never will be, or what they think they should be. Most stories are there already, you can’t — you don’t have to — invent them, you just have to bring them to light, make them visible, and recount them clearly. That’s visual communication.

Invented stories, a preposterous tissue of lies obscuring the essence

Andreas Uebele

What are the big trends you have observed in your particular field?

Trend? What is a trend?

What everyone’s doing?

Do we want to do what everyone’s doing or follow our own path?

Isn’t it much more interesting to swim against the tide, to go against the grain, to ask uncomfortable questions? A trend is an easy way out, a comfortable avoidance of work and thought. It is the opposite of how honest design comes about.

How would you define timeless design?

Timeless design is a misconception linked perhaps to our fear of impermanence (grateful to Andreas Cukrowicz, who made him aware of this perspective.). Maybe this is why we find it uncomfortable to think about how things age and so find ourselves wishing for timeless design. Yet objects — or their external image — are as intrinsically fragile as human beings themselves, a fact we’d really rather not face. The concept of timeless design is often used as a pretext for not engaging deeply enough with the matter at hand, as a way of saving time and work. The dull result then has the label “timeless”

Good design is the intersection of beauty and fragility.

What’s the best way to challenge viewers’ perceptions and is that always a good thing?

VIEWERS! ABSOLUTELY! MUST! NOTICE! OUR WORK! Because after all we’ve invested a lot of time in it.

It’s beautiful! It’s magnificent!

It works when viewers like it.

So, we want them to please look at it, and we do everything we can to make this happen. We make it big and bold or maybe soft and subtle, but always insistently, pointedly so.

Yes, we’re the experts in surfaces, visual seducers, tricksters and deceivers, showing beautiful external wrappings in order to reveal the inner depths. We are the tailors disguising the humped back so that viewers can see the beautiful soul within.

affixed to it to confer an air of nobility. In order to be something special, design can and must be absolutely tied to its own time.

Outstanding works of the past are still beautiful today, but they are, precisely, not timeless: we see in them the period in which they were created, they are children of their time, magnificent witnesses.

Your work pays your bills, but how do you stay excited about your chosen path?

I’ll keep on following the same path, just as before, trying to make beautiful things.

Andreas Uebele

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

This is important to me: that we can — we must — instill an idea within the objects we create, that we mustn’t produce anything soulless, but should create something that has an intrinsic character, beyond its immediate purpose. Things like this can enhance our everyday lives, accompanying us like helpful or comforting spirits; we can learn from them, they impart their essence to us, whether this essence is smart, austere (or humorous).

This essence, this character, can be found in a typeface, a tool, or a building. Our task is to become aware of this intrinsic idea and give it an appropriate form, because then the things we make are not just beautiful but also testaments — to delight and care, to conflict and reconciliation.

© Büro uebele visuelle kommunikation, Photographer: Christian Lindermann

What tips would you give to aspiring designers seeking a start in your particular field?

Be fearless.

Do you feel like in the past decade there has been an increased interest in design (in your field) and if so why do you think that is?

Conversely if you feel like there should be more attention given to design creation and innovation what do you think is missing in order to achieve that goal?

More value appreciation, less value creation.

Fun Factory

Fun Factory

© Fun Factory

03 Simone Kalz

Fun Factory

Product Design Bremen

“Magic is everywhere; you only need to walk around with eyes open and start thinking out of the box.”

Patchy Paul

Fun Factory

Fun Factory

© Fun Factory

03 Simone Kalz

Fun Factory

Product Design Bremen

“Magic is everywhere; you only need to walk around with eyes open and start thinking out of the box.”

Patchy Paul

03

03

Cobra Libre II

© Fun Factory

Fun Cup

What is your next big project?

That is still top secret but you can all be sure that it will be a big surprise for everyone. Stay excited!

How would you define timeless design?

Timeless design, to me, means something rather neutral and reticent. However, this is not something that we design at Fun Factory. We always keep up with the times and create toys with a special touch of charm.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

It is very important! Especially in my industry, it is indispensable to inspire people in order to touch

Good design is the intersection of heart, mind and a creative hand.

Where do you look for magic these days?

Magic is everywhere; you only need to walk around with eyes open and start thinking out of the box.

Failure on the product level implies

a bad appearance, a bad surface and a bad sound. On the personal level, failure means ordinary thinking and an ordinary way of working.

© Fun Factory

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

I always give the advice to close the eyes and remember the last time you had sex. Think about the expectations, the desires and the experiences and translate those into a product idea.

Additionally, I always recommend getting closer to the customer and getting insights about their needs and wants.

Today more than ever, what does honest design mean to you?

Honest design means that the customer needs are heard, understood and implemented.

From the designer’s perspective, honesty involves understanding the design and creating the product with heart and mind.

them and to get them involved.

It is always my aim that people think back on the product and automatically remember the breathtaking orgasms they had with it.

Stronic G

Your work pays your bills, but how do you stay excited about your chosen path?

I learn every day. Every day is a new day; every day brings a new challenge that needs to be overcome. In addition to that, I have the opportunity to meet many different personalities that inspire my work and me. It is still astonishing that it takes more than having good sex to design and develop excellent sex toys.

Fun Factory

Fun Factory

On the importance or relevance of storytelling: Customers have a very intimate relationship with their sex toys, which increases the importance of the toy having an appealing character. For that purpose, storytelling is key.

03

03

Cobra Libre II

© Fun Factory

Fun Cup

What is your next big project?

That is still top secret but you can all be sure that it will be a big surprise for everyone. Stay excited!

How would you define timeless design?

Timeless design, to me, means something rather neutral and reticent. However, this is not something that we design at Fun Factory. We always keep up with the times and create toys with a special touch of charm.

How important is it for you to inspire people? How would you like people to remember your work, and what sort of legacy do you want to leave?

It is very important! Especially in my industry, it is indispensable to inspire people in order to touch

Good design is the intersection of heart, mind and a creative hand.

Where do you look for magic these days?

Magic is everywhere; you only need to walk around with eyes open and start thinking out of the box.

Failure on the product level implies

a bad appearance, a bad surface and a bad sound. On the personal level, failure means ordinary thinking and an ordinary way of working.

© Fun Factory

What tips would you give to aspiring designers seeking a start in your particular field?

What would you have liked to know when you first started working?

I always give the advice to close the eyes and remember the last time you had sex. Think about the expectations, the desires and the experiences and translate those into a product idea.

Additionally, I always recommend getting closer to the customer and getting insights about their needs and wants.

Today more than ever, what does honest design mean to you?

Honest design means that the customer needs are heard, understood and implemented.

From the designer’s perspective, honesty involves understanding the design and creating the product with heart and mind.

them and to get them involved.

It is always my aim that people think back on the product and automatically remember the breathtaking orgasms they had with it.

Stronic G

Your work pays your bills, but how do you stay excited about your chosen path?

I learn every day. Every day is a new day; every day brings a new challenge that needs to be overcome. In addition to that, I have the opportunity to meet many different personalities that inspire my work and me. It is still astonishing that it takes more than having good sex to design and develop excellent sex toys.

Fun Factory

Fun Factory

On the importance or relevance of storytelling: Customers have a very intimate relationship with their sex toys, which increases the importance of the toy having an appealing character. For that purpose, storytelling is key.

Michel Mallard

Creative Direction Paris

Michel Mallard

“Is it more shocking to show reality or things that most people will never have access to?�

United Colors of Benetton campaign, 2018

02

Michel Mallard

Creative Direction Paris

Michel Mallard

“Is it more shocking to show reality or things that most people will never have access to?�

United Colors of Benetton campaign, 2018

02

02

02 to students about Neville Brody and they have no idea who he is, or David Carson for that matter who revolutionised typography. When you look at the movie Godard shot in Sarajevo in 1993, it was super powerful, it was a movie made out of a single picture. Nobody is doing that kind of work today. All it boils down to nowadays is Instagram, followers, influencers and all that stuff. It’s monstrous. The problem is with cities like London and Paris, where rents have become so ridiculous that it kills creativity.

People just can’t afford living there and so they have to comply to the market to survive. Innovation is emerging in cities like Amsterdam, in Ukraine, or places that are open like Mexico.… In fact the new generation of star designers are people who experienced hunger, communism…

Visual for the Book cover, poster and invitation to the exhibition Louis Vuitton Fashion Photography, (published by Rizzoli), 2014

getting involved with Fabrica, which was launched by Luciano Benetton and Oliviero Toscani in 2000.

It had been abandoned, and Oliviero and I took it over in January of this year. We have two missions.

First, there is this centre where we have the “fabricanti”, students from all over the world, who are there to learn about communication. We organise events and invite speakers from a diverse range of fields. We recently did a festival under the theme of subversion. The other mission is to reinvent Benetton, the brand, which sort of became obsolete over the years. It’s a brand that at one time was visionary through its campaigns. We just launched the new campaign and it has the ingredients of the glory days of the brand, so we touched on the subject of migrants for

example. In fact there was an interesting debate about it because people were shocked and saying that they didn’t appreciate that we used these images for advertising ends, when in reality it wasn’t about advertising for us but rather about taking a political stance.

In 2018, people still have a hard time grappling with what is more obscene, an image of Benetton or one of Dolce and Gabbana that shows gold and excess. Is it more shocking to show reality or things that most people will never have access to?

Well, what would you say to a young photographer starting out and aspiring to do quality work?

I would tell them to deepen their knowledge, to look at what came before. Today, most people have no idea about anything. You talk

How would you define honest imagery and design?

At Fabrica we are convinced that human values will be making a come back. These are the things that need to be cultivated. Building on pillars of what has happened in the past, throughout history, can help give more meaning to images and new creative outputs.

I distanced myself from fashion magazines after I stepped back from L’Officiel and Jalouse because they were turning into catalogues.

FLOWER BY KENZO fragrance campaign

Azzaro Decibel Fragrance (featuring Julian Casablancas)

There were no young designers being featured any longer because if you didn’t pay for advertising, you were not included in the pages.

Articles were all arranged along financial terms. So, it’s no longer the place to revolutionise things and on top of it, it no longer pays either.

What are your thoughts on the current landscape?

I have to say that the world of imagery is really suffering today.

The quality of works is deteriorating.

Graphic designers have become like high-end secretaries, because every one has to give their opinion and the decision-makers at brands

are less and less cultivated and only care about numbers. They have no visual experience. Before, people were cultured in that sense; they had an eye for things.

The other issue is that people are willing to do shoots for nothing.

Since Nick Knight did photos with the Iphone, magazines no longer want to pay photographers because they say: why should we pay for a Hasselblad, when you can do the work with an Iphone?

So, everything is going down hill.

Condé Nast lost 120 million last year. It’s all very complicated and a lot of photographers are really taking a hit as a result. Of course, not the 10 or 15 star photographers.

All that’s left then are the young photographers who have no experience. How is a young guy who has never had a real love story supposed to shoot one with a real eye? This is all leading to a real problem of mediocrity.

Is it important for you to leave a legacy through your work?

No, I just want to do nice things.

I want to take advantage of life.

I am interested in creating campaigns that convey meaning.

I think it’s time to be more involved in educational projects, to share with new generations, and learn from them. That’s the path I want to follow for now. It’s good to challenge yourself.

Michel Mallard

What have you been working on since you came to Luxembourg?

I continued working on the Hyères Fashion & Photography festival, I also started working on quite a few campaigns for perfumes, including shooting films and photos, expanding on the creative direction.

I shot some films for Kenzo and Azarro’s advertising campaigns, and also for a new perfume called Decibel, which we did with Julian Casablancas. I was asked to create the whole thing from scratch.

I worked a lot with the brands to create the packaging, and the overall image of the perfumes, websites, multimedia campaigns and launch events.

After that I took over the creative direction of Jalouse magazine again.

L’Officiel was added to that and I was doing both at the same time.

Then, I moved on and started doing projects for Louis Vuitton.

The first one was a book on the 15 years of fashion at Louis Vuitton.

It’s 400 pages thick, with a limited edition box. Then, I started a project with them called Fashion Eye, where I take fashion photographers to shoot locations and places.

Vuitton had started developing travel guidebooks, and so with me the idea was to develop books about “exquisite” locations, unusual places of great beauty. With Solve Sundsbo I did British Colombia.

We went to the mountains near Vancouver. It was really sublime, and the images showed untouched landscapes. The next one I did with Oliviero Toscani in Sicily, in a place called Cretto di Burri. It’s a gigantic sculpture, the size of a city.

Now, I am preparing a book with Jean-Baptiste Mondino and another book with the American photographer Melvin Sokolsky who lives in Beverly Hills and was sort of a Richard Avedon competitor in the 60s. I try to work with both the new generation of photographers and with older ones who were really well known but who have been a bit forgotten.

I am working for Formula 1 in Mexico doing photo exhibitions.

I also started working in Italy,

02

02 to students about Neville Brody and they have no idea who he is, or David Carson for that matter who revolutionised typography. When you look at the movie Godard shot in Sarajevo in 1993, it was super powerful, it was a movie made out of a single picture. Nobody is doing that kind of work today. All it boils down to nowadays is Instagram, followers, influencers and all that stuff. It’s monstrous. The problem is with cities like London and Paris, where rents have become so ridiculous that it kills creativity.

People just can’t afford living there and so they have to comply to the market to survive. Innovation is emerging in cities like Amsterdam, in Ukraine, or places that are open like Mexico.… In fact the new generation of star designers are people who experienced hunger, communism…

Visual for the Book cover, poster and invitation to the exhibition Louis Vuitton Fashion Photography, (published by Rizzoli), 2014

getting involved with Fabrica, which was launched by Luciano Benetton and Oliviero Toscani in 2000.

It had been abandoned, and Oliviero and I took it over in January of this year. We have two missions.

First, there is this centre where we have the “fabricanti”, students from all over the world, who are there to learn about communication. We organise events and invite speakers from a diverse range of fields. We recently did a festival under the theme of subversion. The other mission is to reinvent Benetton, the brand, which sort of became obsolete over the years. It’s a brand that at one time was visionary through its campaigns. We just launched the new campaign and it has the ingredients of the glory days of the brand, so we touched on the subject of migrants for

example. In fact there was an interesting debate about it because people were shocked and saying that they didn’t appreciate that we used these images for advertising ends, when in reality it wasn’t about advertising for us but rather about taking a political stance.

In 2018, people still have a hard time grappling with what is more obscene, an image of Benetton or one of Dolce and Gabbana that shows gold and excess. Is it more shocking to show reality or things that most people will never have access to?

Well, what would you say to a young photographer starting out and aspiring to do quality work?

I would tell them to deepen their knowledge, to look at what came before. Today, most people have no idea about anything. You talk

How would you define honest imagery and design?

At Fabrica we are convinced that human values will be making a come back. These are the things that need to be cultivated. Building on pillars of what has happened in the past, throughout history, can help give more meaning to images and new creative outputs.

I distanced myself from fashion magazines after I stepped back from L’Officiel and Jalouse because they were turning into catalogues.

FLOWER BY KENZO fragrance campaign

Azzaro Decibel Fragrance (featuring Julian Casablancas)

There were no young designers being featured any longer because if you didn’t pay for advertising, you were not included in the pages.

Articles were all arranged along financial terms. So, it’s no longer the place to revolutionise things and on top of it, it no longer pays either.

What are your thoughts on the current landscape?

I have to say that the world of imagery is really suffering today.

The quality of works is deteriorating.

Graphic designers have become like high-end secretaries, because every one has to give their opinion and the decision-makers at brands

are less and less cultivated and only care about numbers. They have no visual experience. Before, people were cultured in that sense; they had an eye for things.

The other issue is that people are willing to do shoots for nothing.

Since Nick Knight did photos with the Iphone, magazines no longer want to pay photographers because they say: why should we pay for a Hasselblad, when you can do the work with an Iphone?

So, everything is going down hill.

Condé Nast lost 120 million last year. It’s all very complicated and a lot of photographers are really taking a hit as a result. Of course, not the 10 or 15 star photographers.

All that’s left then are the young photographers who have no experience. How is a young guy who has never had a real love story supposed to shoot one with a real eye? This is all leading to a real problem of mediocrity.

Is it important for you to leave a legacy through your work?

No, I just want to do nice things.

I want to take advantage of life.

I am interested in creating campaigns that convey meaning.

I think it’s time to be more involved in educational projects, to share with new generations, and learn from them. That’s the path I want to follow for now. It’s good to challenge yourself.

Michel Mallard

What have you been working on since you came to Luxembourg?

I continued working on the Hyères Fashion & Photography festival, I also started working on quite a few campaigns for perfumes, including shooting films and photos, expanding on the creative direction.

I shot some films for Kenzo and Azarro’s advertising campaigns, and also for a new perfume called Decibel, which we did with Julian Casablancas. I was asked to create the whole thing from scratch.

I worked a lot with the brands to create the packaging, and the overall image of the perfumes, websites, multimedia campaigns and launch events.

After that I took over the creative direction of Jalouse magazine again.

L’Officiel was added to that and I was doing both at the same time.

Then, I moved on and started doing projects for Louis Vuitton.

The first one was a book on the 15 years of fashion at Louis Vuitton.

It’s 400 pages thick, with a limited edition box. Then, I started a project with them called Fashion Eye, where I take fashion photographers to shoot locations and places.

Vuitton had started developing travel guidebooks, and so with me the idea was to develop books about “exquisite” locations, unusual places of great beauty. With Solve Sundsbo I did British Colombia.

We went to the mountains near Vancouver. It was really sublime, and the images showed untouched landscapes. The next one I did with Oliviero Toscani in Sicily, in a place called Cretto di Burri. It’s a gigantic sculpture, the size of a city.

Now, I am preparing a book with Jean-Baptiste Mondino and another book with the American photographer Melvin Sokolsky who lives in Beverly Hills and was sort of a Richard Avedon competitor in the 60s. I try to work with both the new generation of photographers and with older ones who were really well known but who have been a bit forgotten.

I am working for Formula 1 in Mexico doing photo exhibitions.

I also started working in Italy,

01

© Gene Glover

Christoph Niemann

Christoph Niemann

Brooklyn Bridge Red, 2016

Christoph Niemann

© Christoph Niemann

Illustration Berlin

01

© Gene Glover

Christoph Niemann

Christoph Niemann

Brooklyn Bridge Red, 2016

Christoph Niemann

© Christoph Niemann

Illustration Berlin

01

01

It’s been 9 years since you’ve been in Luxembourg, what have you been up to in the years since?

Look:

NYC Downtown (blue), 2017

Christoph Niemann

Sunday Sketch (Rolls Royce), 2014

© Christoph Niemann

Champ de Mars I, 2017

Champ de Mars II, 2017

Design and Violence Coffee (light gray), 2017

DUMBO, Brooklyn (dusk), 2017

Christoph Niemann

Sunday Sketch (Hong Kong), 2017

01

01

It’s been 9 years since you’ve been in Luxembourg, what have you been up to in the years since?

Look:

NYC Downtown (blue), 2017

Christoph Niemann

Sunday Sketch (Rolls Royce), 2014

© Christoph Niemann

Champ de Mars I, 2017

Champ de Mars II, 2017

Design and Violence Coffee (light gray), 2017

DUMBO, Brooklyn (dusk), 2017

Christoph Niemann

Sunday Sketch (Hong Kong), 2017

Wow, ten years!

The not-for-profit organisation Design Friends is celebrating its ten-year anniversary.

The journey we have travelled fills us with pride and piques our excitement for the years to come.

On the pages of this book, we have given the floor (again) to the fifty designers who, over the last ten years, have done us the honour of giving lectures. For us, this has meant contacting people with whom, quite often, we have formed friendly relationships following our encounters in Luxembourg, and we are also hoping to share their continuing passionate journeys with you.

Although the board assumes the role of the Design Friends executive, the association also belongs to all those who have contributed with their talent and experience: guest speakers, obviously, as well as graphic designers, photographers, writers, DJs, VJs, illustrators, journalists, web designers, trainees, volunteers, exhibition curators, technicians, members of the public, advisers, printers, proof-readers and so many others... And let’s not forget the precious and unwavering support of members, private partners, cultural institutions and their teams.

Thank you for these ten years of friendship and support. Without you, it wouldn’t have been the same, and we are hoping to enter into the next stage with your help.

Thank you!

Private and Public partners

A

101 Studios 2m26 5.5 Designers A+T Architecture Christelle Aaron Patrick Ackermann Maïté Ademes Eduardo Aires Audrey Alioua François Altwies Amanda de Los Angeles

Mejia Alvarado Delphine Amand Jessica Andre David André Marc Angel Aurélio Angius Patricia Angoy Laurent Antonczak Brian Antony Apart Philippe Apeloig

Marc Aragones Anna Arbizzoni Archiduc Catherine Arend Claudine Arend Valérie Arend Guy Arendt Bryan Aries Melissa Aries Jean-Marc Arnaudé Christian Aschman

Thank you !

Many people have marked our association, leaving an indelible trace.

We are seizing the occasion here to thank all of them.

Wow, ten years!

The not-for-profit organisation Design Friends is celebrating its ten-year anniversary.

The journey we have travelled fills us with pride and piques our excitement for the years to come.

On the pages of this book, we have given the floor (again) to the fifty designers who, over the last ten years, have done us the honour of giving lectures. For us, this has meant contacting people with whom, quite often, we have formed friendly relationships following our encounters in Luxembourg, and we are also hoping to share their continuing passionate journeys with you.

Although the board assumes the role of the Design Friends executive, the association also belongs to all those who have contributed with their talent and experience: guest speakers, obviously, as well as graphic designers, photographers, writers, DJs, VJs, illustrators, journalists, web designers, trainees, volunteers, exhibition curators, technicians, members of the public, advisers, printers, proof-readers and so many others... And let’s not forget the precious and unwavering support of members, private partners, cultural institutions and their teams.

Thank you for these ten years of friendship and support. Without you, it wouldn’t have been the same, and we are hoping to enter into the next stage with your help.

Thank you!

Private and Public partners

A

101 Studios 2m26 5.5 Designers A+T Architecture Christelle Aaron Patrick Ackermann Maïté Ademes Eduardo Aires Audrey Alioua François Altwies Amanda de Los Angeles

Mejia Alvarado Delphine Amand Jessica Andre David André Marc Angel Aurélio Angius Patricia Angoy Laurent Antonczak Brian Antony Apart Philippe Apeloig

Marc Aragones Anna Arbizzoni Archiduc Catherine Arend Claudine Arend Valérie Arend Guy Arendt Bryan Aries Melissa Aries Jean-Marc Arnaudé Christian Aschman

Thank you !

Many people have marked our association, leaving an indelible trace.

We are seizing the occasion here to thank all of them.

B

Binsfeld

Patrik Bitomsky Katharina Blagova

Linda Blatzek Emile Bock Caroline Bockler Sophie Bocqueo Danielle Boever Gilles Bogaert Jorun Boklöv Boo Boomerang Mirko Borsche Linda Bos Nicolas Bourquin Cassandre Bourtembourg Lara Bousch Christiane Bram Catia Branca Maria Brandino Nancy Braun Benjamin Breckler Gael Briand Ludwig Bricourt Brigitte Britten Frauke Brodd David Brognon Brosmind Lea Brousse Brousse & Ruddigkeit Joël Brücher Uwe R. Brückner Joel Bruecher Tania Brugnoni Charel Buchler Frederique Buck Anne Bugugnani Viviane Bump Bunker Palace Bureau Moderne Ana Busuioc Mo Cala Catherine Callicot Christian Cambule Canon Vera Capinha Delfim Cardoso CarréRotondes CarréRouge Jose Carsi Céline Carvalho Jean-Paul Carvalho Dany Carvalho Teixeira

C

Casino Luxembourg - Forum d’art contemporain

Sarah Cattani Gilles Celli

Centre national de l’audiovisuel Cercle Cité

Mady Chailloleau Marie Chancé Inge Chapelotte Isabelle Chapuis

Eric Chenal Helene Cherry Monique Chevremont Christal & Crack Christian Bauer Associés CK - Charles Kieffer

Daniel Clarens France Clarinval Kim Clarke Gérard Claude Nadine Clemens Sven Clement Koen Cloostermans Carole Closener Dani Coimbra Marc Colbach Paul Comrie Julie Conrad Valérie Conrot Michel Conté Dorothée Conter Marguy Conzemius Eva Coste Lynn Cosyn Suzanne Cotter Joelle Cottong Sylvain Cottong Céline Coubray Alain Craighero Maurizio Crinelli Zsofia Csaba Alain Cunisse Maciej Czura Valerio D’Alimonte Frantz D’Huart Jose Da Costa Manuel Da Costa Ana Da Silva Anne Darin-Jaulin Darjeeling Consulting Laurent Daubach D'CO Rudi De Becker Sophie De Cia Carlos De Freitas Christophe De la Fontaine Patrick De La Hamette Marco Antonio De Lacerda Abreu Clara Sofia De Oliveira Martins Eleonore De Ville Arnaud Decker Thomas Decker Luc Deflorenne Ulrike Degen Kristof Della Siega Lucie Delsalle Semir Demic Do Demuth Lara Denter Philippe Depoorter

D

Thank you !

Sofia Asdrubali Caroline Assa Claude Assel Marie Astrie Jeanne Atlan ATZ119 Jean Aubry Hervé B. Joanna Baginska Sasha Baillie Rodolfo Baiz Shato Bajac Bakform Olivier Balbeur Manuel Baldauff Marc Baldauff Claude Alexandre Ballini Angie Balthasar Banque de Luxembourg Nicolas Barthod Elvire Bastendorff Florence Bastin Adrien Baudouin Christian Bauer Max Bauer Séverine Bauer Yann Bauquesne Ruedi Baur Fred Baus Kuston Beater Marie-Claude Beaud Marie-Claire Beaufays Anne-Françoise Bechet Andrea Beck Alex Becker Julien Becker Sven Becker Eve-Lynn Beckius Christophe Becue Marcel Befort Olya Bell Edith Belso Vitor Bento Guy Benzeno Nicholas Beraghi Pauline Berg Fabienne Bernardini Herbert Marco Beros Andrea Bertsche Christian Besch Xavier Bettel Ingrid Bettendorf Laura Biagoni Christina Biever-Figue Ignazio Binanti R. Bindels Marc Binsfeld

B

Binsfeld

Patrik Bitomsky Katharina Blagova

Linda Blatzek Emile Bock Caroline Bockler Sophie Bocqueo Danielle Boever Gilles Bogaert Jorun Boklöv Boo Boomerang Mirko Borsche Linda Bos Nicolas Bourquin Cassandre Bourtembourg Lara Bousch Christiane Bram Catia Branca Maria Brandino Nancy Braun Benjamin Breckler Gael Briand Ludwig Bricourt Brigitte Britten Frauke Brodd David Brognon Brosmind Lea Brousse Brousse & Ruddigkeit Joël Brücher Uwe R. Brückner Joel Bruecher Tania Brugnoni Charel Buchler Frederique Buck Anne Bugugnani Viviane Bump Bunker Palace Bureau Moderne Ana Busuioc Mo Cala Catherine Callicot Christian Cambule Canon Vera Capinha Delfim Cardoso CarréRotondes CarréRouge Jose Carsi Céline Carvalho Jean-Paul Carvalho Dany Carvalho Teixeira

C

Casino Luxembourg - Forum d’art contemporain

Sarah Cattani Gilles Celli

Centre national de l’audiovisuel Cercle Cité

Mady Chailloleau Marie Chancé Inge Chapelotte Isabelle Chapuis

Eric Chenal Helene Cherry Monique Chevremont Christal & Crack Christian Bauer Associés CK - Charles Kieffer

Daniel Clarens France Clarinval Kim Clarke Gérard Claude Nadine Clemens Sven Clement Koen Cloostermans Carole Closener Dani Coimbra Marc Colbach Paul Comrie Julie Conrad Valérie Conrot Michel Conté Dorothée Conter Marguy Conzemius Eva Coste Lynn Cosyn Suzanne Cotter Joelle Cottong Sylvain Cottong Céline Coubray Alain Craighero Maurizio Crinelli Zsofia Csaba Alain Cunisse Maciej Czura Valerio D’Alimonte Frantz D’Huart Jose Da Costa Manuel Da Costa Ana Da Silva Anne Darin-Jaulin Darjeeling Consulting Laurent Daubach D'CO Rudi De Becker Sophie De Cia Carlos De Freitas Christophe De la Fontaine Patrick De La Hamette Marco Antonio De Lacerda Abreu Clara Sofia De Oliveira Martins Eleonore De Ville Arnaud Decker Thomas Decker Luc Deflorenne Ulrike Degen Kristof Della Siega Lucie Delsalle Semir Demic Do Demuth Lara Denter Philippe Depoorter

D

Thank you !

Sofia Asdrubali Caroline Assa Claude Assel Marie Astrie Jeanne Atlan ATZ119 Jean Aubry Hervé B. Joanna Baginska Sasha Baillie Rodolfo Baiz Shato Bajac Bakform Olivier Balbeur Manuel Baldauff Marc Baldauff Claude Alexandre Ballini Angie Balthasar Banque de Luxembourg Nicolas Barthod Elvire Bastendorff Florence Bastin Adrien Baudouin Christian Bauer Max Bauer Séverine Bauer Yann Bauquesne Ruedi Baur Fred Baus Kuston Beater Marie-Claude Beaud Marie-Claire Beaufays Anne-Françoise Bechet Andrea Beck Alex Becker Julien Becker Sven Becker Eve-Lynn Beckius Christophe Becue Marcel Befort Olya Bell Edith Belso Vitor Bento Guy Benzeno Nicholas Beraghi Pauline Berg Fabienne Bernardini Herbert Marco Beros Andrea Bertsche Christian Besch Xavier Bettel Ingrid Bettendorf Laura Biagoni Christina Biever-Figue Ignazio Binanti R. Bindels Marc Binsfeld

Laurence Dernoeden Design City Design Luxembourg Designbureau

E

F

Fiduciaire du Grand-Duché de Luxembourg Firstfloor

Jean-Luc Fisch Stina Fisch Norbert Fischels Yann Fischels Brigitte Fitoussi Claire Flammang Roxane Flick Jean-Paul Flies Claude Folschette Laura Folschette

Fonds Culturel National - Focuna

Elodie Fontaine Format Mario Fortes Morgan Fortes Emanuele Fossati Christine Franck Michels Franck Sonia Franck Markus Freudenreich Flore Friden Franz Friederes Jean-Paul Friederes Heike Fries Pierre Friob Josy Frisch Pamela Frisch Mathias Fritsch Daphne Dan Dan Fu Eduardo Fuente Fun Factory Martin Furjes Elena Furjesova-Berecova Claude Gaasch Sylvie Gagelmann Davide Gallucio Gilles Gardula Francis Gasparotto Jean-Michel Gaudron

G

Vincent Genco-Russo Marc Gerges Steve Gerges Valérie Ghanime Nicolas Ghilissen Joana Giesen Nathalie Gillen Steve Ginepri Alain Giombetti Ghislaine Giraudet Sara Giubelli Matteo Giusto Joanna Gizewska Claudine Glas Jan Glas Martine Gloden Tom Gloesener Gina Goedert Jo-David Goergen Nicole Goetz Jérôme Goldschmit Vanessa Gourdange Laurent Graas Philippe Graff Graphic Design Festival Breda Danitza Greffrath Claudie Grisius Stéphanie Grisius Marianne Grisse Joanna Grodecki Camille Groff Yves-Laurent Grosbusch Marc Gross Raoul Gross Philippe Gruber Florent Guerlain Guido&Glas Charline Guille-Burger Murat Günak Stéphane Gutfrind Marion Guth Anne Haag Marc Haas Patrick Hallé Anne Hamen Julien Hanin Arnaud Hanon Jan Hanrion Josée Hansen Anne Hansen

H Hausing

Sam Hecht Richard Heinemann Felix Heintz Heintz van Landewyck Diane Heirend Bettina Heldenstein Max Heldenstein Vera Heliodoro Ilka Helmig

Thank you !

Sophie Dewalque Stéphane Di Carlo Antonello Di Pinto Carmen Di Pinto Tanja Dias Viktor Dick Dany Dickes Eric Dickes Isabelle Dickes Alexander Diefenbach Linda Dieschbourg Martin Dieterle Muriel Dietsch Stefan Diez Marco Dino Andy Docket Marc Doemer Michel Dohn Helène Dom Donut Marianne Donven Anita Dore François Dorland Mauro Doro Georges Dos Santos Laurence Dostert Jacques Drescher Catherine Duboutay Bruce Duckworth Krystina Dul Evgenia Dymkina E-connect Serge Ecker Runa Egilsdottir Sven Ehmann Olli Eickholt Daniel Einars Erik Olof Ekloef Dennis Elbers Stefanie Ellwanger Laure Elsen Lisa Elsen Melanie Elsen Suzette Elsen Alain Emering Anja Engelke Clara Engemann Monika Engler Keven Erickson Claude Ernster Fernand Ernster Ernster Nadine Erpelding Emile Espen Raakil Espen Gilles Esslingen

Rocio Estebanez Campos Claudia Eustergerling Mark Evans Exit07 Extrabold Fab Lab Tatiana Fabeck Anne Faber Isabelle Faber Myriam Faber Raymond Faber Franz Fayot Christine Feck Misch Feinen Hans Fellner Nicolas Felten Virginie Feltz Tiffanie Ferrandini François Feutrie

Laurence Dernoeden Design City Design Luxembourg Designbureau

E

F

Fiduciaire du Grand-Duché de Luxembourg Firstfloor

Jean-Luc Fisch Stina Fisch Norbert Fischels Yann Fischels Brigitte Fitoussi Claire Flammang Roxane Flick Jean-Paul Flies Claude Folschette Laura Folschette

Fonds Culturel National - Focuna

Elodie Fontaine Format Mario Fortes Morgan Fortes Emanuele Fossati Christine Franck Michels Franck Sonia Franck Markus Freudenreich Flore Friden Franz Friederes Jean-Paul Friederes Heike Fries Pierre Friob Josy Frisch Pamela Frisch Mathias Fritsch Daphne Dan Dan Fu Eduardo Fuente Fun Factory Martin Furjes Elena Furjesova-Berecova Claude Gaasch Sylvie Gagelmann Davide Gallucio Gilles Gardula Francis Gasparotto Jean-Michel Gaudron

G

Vincent Genco-Russo Marc Gerges Steve Gerges Valérie Ghanime Nicolas Ghilissen Joana Giesen Nathalie Gillen Steve Ginepri Alain Giombetti Ghislaine Giraudet Sara Giubelli Matteo Giusto Joanna Gizewska Claudine Glas Jan Glas Martine Gloden Tom Gloesener Gina Goedert Jo-David Goergen Nicole Goetz Jérôme Goldschmit Vanessa Gourdange Laurent Graas Philippe Graff Graphic Design Festival Breda Danitza Greffrath Claudie Grisius Stéphanie Grisius Marianne Grisse Joanna Grodecki Camille Groff Yves-Laurent Grosbusch Marc Gross Raoul Gross Philippe Gruber Florent Guerlain Guido&Glas Charline Guille-Burger Murat Günak Stéphane Gutfrind Marion Guth Anne Haag Marc Haas Patrick Hallé Anne Hamen Julien Hanin Arnaud Hanon Jan Hanrion Josée Hansen Anne Hansen

H Hausing

Sam Hecht Richard Heinemann Felix Heintz Heintz van Landewyck Diane Heirend Bettina Heldenstein Max Heldenstein Vera Heliodoro Ilka Helmig

Thank you !

Sophie Dewalque Stéphane Di Carlo Antonello Di Pinto Carmen Di Pinto Tanja Dias Viktor Dick Dany Dickes Eric Dickes Isabelle Dickes Alexander Diefenbach Linda Dieschbourg Martin Dieterle Muriel Dietsch Stefan Diez Marco Dino Andy Docket Marc Doemer Michel Dohn Helène Dom Donut Marianne Donven Anita Dore François Dorland Mauro Doro Georges Dos Santos Laurence Dostert Jacques Drescher Catherine Duboutay Bruce Duckworth Krystina Dul Evgenia Dymkina E-connect Serge Ecker Runa Egilsdottir Sven Ehmann Olli Eickholt Daniel Einars Erik Olof Ekloef Dennis Elbers Stefanie Ellwanger Laure Elsen Lisa Elsen Melanie Elsen Suzette Elsen Alain Emering Anja Engelke Clara Engemann Monika Engler Keven Erickson Claude Ernster Fernand Ernster Ernster Nadine Erpelding Emile Espen Raakil Espen Gilles Esslingen

Rocio Estebanez Campos Claudia Eustergerling Mark Evans Exit07 Extrabold Fab Lab Tatiana Fabeck Anne Faber Isabelle Faber Myriam Faber Raymond Faber Franz Fayot Christine Feck Misch Feinen Hans Fellner Nicolas Felten Virginie Feltz Tiffanie Ferrandini François Feutrie

I-J Ikon Holding

AY D H IRT DS B PY EN I P R A H NF G I DES centre commercial Langwies II - 7, rue Nicolas Glesner L-6131 Junglinster 26.78.28.88 www.firstfloor.lu

Imprimerie Centrale Imprimerie Faber Indoor Media Interpub Kamil Iwaszczyszyn J+E Nathalie Jacoby Sandrine Jacquet Jailbird Magdalena Jakubowska Michèle Jans Lena Jelisarow Hyunbo Jo Tim John Michael Johnson Sylvain Jouhanneau Alexis Juncosa Claudine Kaell Daniel Kahn Ezri Kahn

K

Anne Kaiffer Sophie Kaiffer Frank Kaiser Caroline Kaiser Hanna Kalck Thomas Kamarauskas Nikki Kanive Joséphine Kanka Clotilde Kantza Marco Kany Anna Katina Dean Kauffmann Pascale Kauffmann Anne Kayser Simone Kayser Georges Keiffer Sandy Keipes Anny Keller Philippe Kerger Elisa Kern Céline Kerschen Germain Kerschen Martine Kerschen Christine Kesel Véronique Kesseler Susan Kesselhut Claude Ketter Marie Ketter Reza Kianpour Anne Kieffer Annick Kieffer Monique Kieffer Eun-Jung Kim Hye-Won Kim Kinlake Fränk Kintzinger Julie Kirchen Paul Kirps Sylvain Kirsch Silent Kid Lisa Klappe Damien Klein Yvan Klein Lex Kleren Mado Klümper Sonja Knecht Diane Koch Boris Kochan Romain Kochanowicz Mike Koedinger Caroline Koener Daniel Kohn Merel Kokhuis Margo Konings Kontext Kousca Design Studio Sarvenaz Koutchesfahari Kinga Kowalczyk Corinne Kox Jo Kox

Steve Krack Andreas Krämer Sophie Krauss Jeannot Krecké Lisa Kremer Iyoshi Kreutz Will Kreutz Claire Krieger Anne Krier Grethel Krier Jean Krier Mathis Krier Jérôme Krier Vivien Kristof Olga Krivostsokova Guido Kröger Anne Kröger-Kieffer Georges Krombach Tine Krumhorn Kylie Ku Régis Kuckaertz Pit Kuffer Axel Kufus Kultur beim Nessert asbl / Commune de Mondercange Grégory Kulus Liz Kummer

L

L’Institut français Luxembourg

Simon Ladurner Rudy Lafontaine Sacha Lakic Lala La Photo Lisa Lamberty Sarah Lambolez Laurie Lamborelle Verena Landgraf Nicole Lanners Stéphanie Laplane Fiosi Laquitana Marc Laroche Benjamin Larralde David Laurent Jean-Claude Lazard Sarah Lee Annick Leick David Leick-Burns Tom Leick-Burns Christophe Leifgen Leitmotif Thomas Lejeune Andres Lejona Jean-Philippe Lemaire Maite Lemogne Jean-François Lens Maurice Lentz Dervla Mary Leonard Lernert & Sander Les M Paul Lesch Line Lesiakowski

Thank you !

Paul Helminger Martine Hemmer Stéphanie Hemmer Nicolas Henchoz Christine Hengen Laurent Henn Anne-Marie Herckes Tom Hermes Herr Erdmann Roger Herz Robert Hever Jan Hiken Alex Hippert Laurence Hirtt Sébastien Hoeltgen Dennis Hoelzenbein Vinzenz Hoelzl Julie Hoffmann Mett Hoffmann Michel Hoffmann Patrick Hoffmann Robert Hoffmann Sandra Hoffmann Sonia Hoffmann Stefan Hoffmann Yves Hoffmann Luc Holper Yvette Holper Kyung-Ah Hong Eilidh Horder Hotel Albert Premier Carlo Houblie Mary Huang Kerstin Hufer Sanja Hügel Human Made Alexandre Humbert Pierre Hurt Indira Idrizovic

I-J Ikon Holding

AY D H IRT DS B PY EN I P R A H NF G I DES centre commercial Langwies II - 7, rue Nicolas Glesner L-6131 Junglinster 26.78.28.88 www.firstfloor.lu

Imprimerie Centrale Imprimerie Faber Indoor Media Interpub Kamil Iwaszczyszyn J+E Nathalie Jacoby Sandrine Jacquet Jailbird Magdalena Jakubowska Michèle Jans Lena Jelisarow Hyunbo Jo Tim John Michael Johnson Sylvain Jouhanneau Alexis Juncosa Claudine Kaell Daniel Kahn Ezri Kahn

K

Anne Kaiffer Sophie Kaiffer Frank Kaiser Caroline Kaiser Hanna Kalck Thomas Kamarauskas Nikki Kanive Joséphine Kanka Clotilde Kantza Marco Kany Anna Katina Dean Kauffmann Pascale Kauffmann Anne Kayser Simone Kayser Georges Keiffer Sandy Keipes Anny Keller Philippe Kerger Elisa Kern Céline Kerschen Germain Kerschen Martine Kerschen Christine Kesel Véronique Kesseler Susan Kesselhut Claude Ketter Marie Ketter Reza Kianpour Anne Kieffer Annick Kieffer Monique Kieffer Eun-Jung Kim Hye-Won Kim Kinlake Fränk Kintzinger Julie Kirchen Paul Kirps Sylvain Kirsch Silent Kid Lisa Klappe Damien Klein Yvan Klein Lex Kleren Mado Klümper Sonja Knecht Diane Koch Boris Kochan Romain Kochanowicz Mike Koedinger Caroline Koener Daniel Kohn Merel Kokhuis Margo Konings Kontext Kousca Design Studio Sarvenaz Koutchesfahari Kinga Kowalczyk Corinne Kox Jo Kox

Steve Krack Andreas Krämer Sophie Krauss Jeannot Krecké Lisa Kremer Iyoshi Kreutz Will Kreutz Claire Krieger Anne Krier Grethel Krier Jean Krier Mathis Krier Jérôme Krier Vivien Kristof Olga Krivostsokova Guido Kröger Anne Kröger-Kieffer Georges Krombach Tine Krumhorn Kylie Ku Régis Kuckaertz Pit Kuffer Axel Kufus Kultur beim Nessert asbl / Commune de Mondercange Grégory Kulus Liz Kummer

L

L’Institut français Luxembourg

Simon Ladurner Rudy Lafontaine Sacha Lakic Lala La Photo Lisa Lamberty Sarah Lambolez Laurie Lamborelle Verena Landgraf Nicole Lanners Stéphanie Laplane Fiosi Laquitana Marc Laroche Benjamin Larralde David Laurent Jean-Claude Lazard Sarah Lee Annick Leick David Leick-Burns Tom Leick-Burns Christophe Leifgen Leitmotif Thomas Lejeune Andres Lejona Jean-Philippe Lemaire Maite Lemogne Jean-François Lens Maurice Lentz Dervla Mary Leonard Lernert & Sander Les M Paul Lesch Line Lesiakowski

Thank you !

Paul Helminger Martine Hemmer Stéphanie Hemmer Nicolas Henchoz Christine Hengen Laurent Henn Anne-Marie Herckes Tom Hermes Herr Erdmann Roger Herz Robert Hever Jan Hiken Alex Hippert Laurence Hirtt Sébastien Hoeltgen Dennis Hoelzenbein Vinzenz Hoelzl Julie Hoffmann Mett Hoffmann Michel Hoffmann Patrick Hoffmann Robert Hoffmann Sandra Hoffmann Sonia Hoffmann Stefan Hoffmann Yves Hoffmann Luc Holper Yvette Holper Kyung-Ah Hong Eilidh Horder Hotel Albert Premier Carlo Houblie Mary Huang Kerstin Hufer Sanja Hügel Human Made Alexandre Humbert Pierre Hurt Indira Idrizovic

Jean-Paul Lespagnard Gaël Lesure Lëtzebuerg City Museum Raphael Leutenegger Samuel Levy Jennifer Ligbado Lightbulb Alain Linster Thomas Lipscomb Livin

Luxembourg Capital Luxembourg Center For Architecture (Luca) Luxembourg City Film Festival

Best Friends Forever.

Happy Anniversary, Design Friends!

Luxinnovation Luxvisual Lycée Aline Mayrich Lycée classique Diekirch Lycée classique Echternach Lycée technique des Arts et Métiers Bianca Maaß Sarah Macri Marie Madonna Céline Maia Carvalho

M Maison Moderne

Lucie Majerus Sala Makumbundu Michel Mallard Zenia Malmer Laura Manelli Debora Manetti Sarah-Grace Mankarious Diana Marasovic Jean-Paul Marc Marc Marchal Dino Marco Andrade Marco

Ministère de la Culture

Suzy Miranda MM Artbook printing & repro Steve E. Molitor Jacques Mondloch Zoe Mondloch Monopolka Sandrine Monteiro

Charles Monteverdi Anna Montirosso Irina Moons Stefano Moreno Marco Morgante Yvette Morheng Christian Mosar Sara Mossong Giusepper Mossuti Francesca Motter Serge Moulin David Mourato Arnaud Mouriamé Larissa Moutrier Claude Moyen Mr Bingo Mudam

Kevin Muhlen Mik Muhlen Christine Muller Nikolas Muller Nikolaus Müller Munhoven Mandela Munoz Alexandra Murray-Leslie Pietro Namèche Iryna Natalicheva Philippe Nathan

N

Nederlandse Ambassade Luxembourg

Romain Nehs Babeth Neiers Claude Nembrini Claudine Nens Neopixl Claude Nesser Marilene Neto da Rocha Claude Neu Patty Neu Christian Neumann Brigitte Neve Dan Neven Martine Nicolay Christoph Niemann Raymond Niesen Kumiyo Noe Audrey Noll Olivier Nosny Nostro Claude Nothar Nouvelle Etiquette Nathalie Nunes

O

NVision Œuvre Nationale de Secours Grande-Duchesse Charlotte Filipe Oliveira

Marilene Oliveira Mathieu Oly Dominique Osch-Moeremans Daniel Pannrucker Anatoli Papadopoulou Anastasia Papageorgopoulos

Thank you !

Kimberly Lloyd Camille Lohbeck Mario Lombardo Sandy Lopes André Lopeseco Patricia Lopez Anna Loporcaro Julie Lorang Pascal Losch Andrew Losowsky Loterie Nationale Louiza Loucaides Loud Was The Sea Dany Lucas Tom Lucas Lucien Schweitzer - Entreprise & Artisanat Dennis Lück Michael Lüghausen Enrico Lunghi Ellen Lupton Leo Lutgen Anja Lutz Ann Luu

Julien Marcy Tessy Margue Julie Märker Giannopoulos Markos Christophe Martin Evelyne Martin Guy Martin Laurent Martin Caroline Martin Ricco Martini Jean-Christophe Massinon Anna Matevosyan Jeanne Mathes Paul Mathey Stephanie Mathey Camillo Matiz Nathalie Matiz Isabelle Mattern Evgenia Matveeva Maurer Einrichtungen Maurice + Paula Philippe Mayer Karolina Mazur Lucia Mazzucato Fanelie Meeus Marina Meisberger Anne Melan Mellem Design Elina Mendeleev Val Mendeleev Sanjiv Menon Marc Mergen Partick Mergen Céline Merhand Jill Mersch Rodolphe Mertens Metaform Georges Mettelock Mélanie Meyer Marc Meyers Sarah Meyers Steph Meyers Meyers & Fügmann André Michaux François Mick Mikado Armando Milani Rice Miles Yuri Min Olivier Minaire Harris Minas Jean-Luc Mines

Jean-Paul Lespagnard Gaël Lesure Lëtzebuerg City Museum Raphael Leutenegger Samuel Levy Jennifer Ligbado Lightbulb Alain Linster Thomas Lipscomb Livin

Luxembourg Capital Luxembourg Center For Architecture (Luca) Luxembourg City Film Festival

Best Friends Forever.

Happy Anniversary, Design Friends!

Luxinnovation Luxvisual Lycée Aline Mayrich Lycée classique Diekirch Lycée classique Echternach Lycée technique des Arts et Métiers Bianca Maaß Sarah Macri Marie Madonna Céline Maia Carvalho

M Maison Moderne

Lucie Majerus Sala Makumbundu Michel Mallard Zenia Malmer Laura Manelli Debora Manetti Sarah-Grace Mankarious Diana Marasovic Jean-Paul Marc Marc Marchal Dino Marco Andrade Marco

Ministère de la Culture

Suzy Miranda MM Artbook printing & repro Steve E. Molitor Jacques Mondloch Zoe Mondloch Monopolka Sandrine Monteiro

Charles Monteverdi Anna Montirosso Irina Moons Stefano Moreno Marco Morgante Yvette Morheng Christian Mosar Sara Mossong Giusepper Mossuti Francesca Motter Serge Moulin David Mourato Arnaud Mouriamé Larissa Moutrier Claude Moyen Mr Bingo Mudam

Kevin Muhlen Mik Muhlen Christine Muller Nikolas Muller Nikolaus Müller Munhoven Mandela Munoz Alexandra Murray-Leslie Pietro Namèche Iryna Natalicheva Philippe Nathan

N

Nederlandse Ambassade Luxembourg

Romain Nehs Babeth Neiers Claude Nembrini Claudine Nens Neopixl Claude Nesser Marilene Neto da Rocha Claude Neu Patty Neu Christian Neumann Brigitte Neve Dan Neven Martine Nicolay Christoph Niemann Raymond Niesen Kumiyo Noe Audrey Noll Olivier Nosny Nostro Claude Nothar Nouvelle Etiquette Nathalie Nunes

O

NVision Œuvre Nationale de Secours Grande-Duchesse Charlotte Filipe Oliveira

Marilene Oliveira Mathieu Oly Dominique Osch-Moeremans Daniel Pannrucker Anatoli Papadopoulou Anastasia Papageorgopoulos

Thank you !

Kimberly Lloyd Camille Lohbeck Mario Lombardo Sandy Lopes André Lopeseco Patricia Lopez Anna Loporcaro Julie Lorang Pascal Losch Andrew Losowsky Loterie Nationale Louiza Loucaides Loud Was The Sea Dany Lucas Tom Lucas Lucien Schweitzer - Entreprise & Artisanat Dennis Lück Michael Lüghausen Enrico Lunghi Ellen Lupton Leo Lutgen Anja Lutz Ann Luu

Julien Marcy Tessy Margue Julie Märker Giannopoulos Markos Christophe Martin Evelyne Martin Guy Martin Laurent Martin Caroline Martin Ricco Martini Jean-Christophe Massinon Anna Matevosyan Jeanne Mathes Paul Mathey Stephanie Mathey Camillo Matiz Nathalie Matiz Isabelle Mattern Evgenia Matveeva Maurer Einrichtungen Maurice + Paula Philippe Mayer Karolina Mazur Lucia Mazzucato Fanelie Meeus Marina Meisberger Anne Melan Mellem Design Elina Mendeleev Val Mendeleev Sanjiv Menon Marc Mergen Partick Mergen Céline Merhand Jill Mersch Rodolphe Mertens Metaform Georges Mettelock Mélanie Meyer Marc Meyers Sarah Meyers Steph Meyers Meyers & Fügmann André Michaux François Mick Mikado Armando Milani Rice Miles Yuri Min Olivier Minaire Harris Minas Jean-Luc Mines

We think so we create.

And we think digital after all.

Digital transformation requires real changes of how you do business. We can help you by advising on your strategy, by analysing your customer and business data and by creating exceptional digital

R

Frank Rausch Saskia Raux Nizar Rawi Hyder Razvi Eline Rebelo Pereira Olaf Recht Alex Reding Pit Reger (Hans) Celine Reichel Sacha Rein Martine Reinert Sascha Reinert Jacky Reis Sebastian Reiter Julien Renault Jean-Paul Reuland Silke Reusche Leo Reuter Liette Reuter Margot Reuter Claudie Reyland Florence Richard Jegen Richie Miguel Richir David Richiuso Heiko Riemann Liz Ries Raoul Ries Marie Rigaux Daniel Rinaldis Fabian Ring Patrick Ripp Lucile Risch Jean-Denis Rischard Michèle Rob Jean-Philippe Robert Duncan Roberts Jennifer Robinson Gilles Rod Frank Rodenbourg Isabel Roig Stéphanie Rollin Frank Rosch Rose de Claire Design David Rosner Miriam Rosner Cliff Ross Rotondes

Martina Rottger Donato Rotunno Elodie Rousseau Germain Rubbini Raban Ruddigkeit Marita Ruiter Andrea Rumpf Denise Ryan Joana Sabri Daniel Sahr Nora Sahr Kustaa Saksi

S

Léa Saluzzi Nathalie Saluzzi Jean Sampaio Fabio Joachim Santos Sapin Brut Satchino Claude Sauber Charlotte Sauer Joachim Sauter Valérie Sayrignac Gilles Scaccia Patrick Schaefer Lynn Schammel Jennifer Schaub Julie Schaus Sandra Scheffen Sandrine Scheller Murielle Scherre (La fille d’O) Scheufelen Sebastian Schichel Jean Schiltz Pe’l Schlechter Andreas Schmid Ralf Schmid Richard Schmid Marthy Schmit Martine Schmit Toni Schmit Serge Schmitgen Claude Schmitz Martin Schmitz Mira Schmitz Carole Schneider Christian Schneider Daniel Schneider Etienne Schneider Gina Schöler Caro Scholl Felix Schons Lea Schroeder Oswald Schroeder Paul Schroeder Stilbé Schroeder Guy Schuler Jean-Paul Schuler Paul Schumacher Yannick Schumacker Pierre Schumann Paul Schwebach Anne Schweitzer Isabelle Schweitzer Tammy Schweitzer Marie Schwoerer Debby Scorcelletti Marc Scozzai Sécurité Routière Sensity

Mike Sergonne Inès Sérizier Albert Seyser

Thank you !

solutions with you - nvision.lu

P-Q

Annick Paquay Rafii Parissa Gintare Parulyte Daniel Passau Casals Pau Oriane Pawlisiak Pearls Christian Pearson Harri Peccinotti Gilles Pegel Christophe Peiffer Eric Peiffer Mark Penfold Judith Peters Michel Petit Rotislava Petkova Brigitte Pétré Felix Pfäffli Christophe Pfeiffer Martine Philippi Phoenix Design Sara Pica Christophe Pillet Martine Pinnel Maxime Pintadu Giacomo Piovan Julie Pipeaux Jacques Piroux Mélanie Planchard Krys Pleimelding Pleix Laura Poggi Jeff Poitiers Polaris Lydie Polfer Elvis Pompilio Emmanuel Poncin Eva Pontini Perry Poos Dana Popescu Stéphanie Poras Stephanie Pos Post Luxembourg / Office des Timbres Claude Poull Justin Powell Paul Priestman Laurren Prieur Paulina Pruszko Nicolas Przeor Andrée Pundel Patrice Putz Quattro Creative Afsaneh Angelina Rafii Ralitt Marie-Jo Ramalho Julien Ramos Nadine Rassel Toni Raus Carole Rausch

We think so we create.

And we think digital after all.

Digital transformation requires real changes of how you do business. We can help you by advising on your strategy, by analysing your customer and business data and by creating exceptional digital

R

Frank Rausch Saskia Raux Nizar Rawi Hyder Razvi Eline Rebelo Pereira Olaf Recht Alex Reding Pit Reger (Hans) Celine Reichel Sacha Rein Martine Reinert Sascha Reinert Jacky Reis Sebastian Reiter Julien Renault Jean-Paul Reuland Silke Reusche Leo Reuter Liette Reuter Margot Reuter Claudie Reyland Florence Richard Jegen Richie Miguel Richir David Richiuso Heiko Riemann Liz Ries Raoul Ries Marie Rigaux Daniel Rinaldis Fabian Ring Patrick Ripp Lucile Risch Jean-Denis Rischard Michèle Rob Jean-Philippe Robert Duncan Roberts Jennifer Robinson Gilles Rod Frank Rodenbourg Isabel Roig Stéphanie Rollin Frank Rosch Rose de Claire Design David Rosner Miriam Rosner Cliff Ross Rotondes

Martina Rottger Donato Rotunno Elodie Rousseau Germain Rubbini Raban Ruddigkeit Marita Ruiter Andrea Rumpf Denise Ryan Joana Sabri Daniel Sahr Nora Sahr Kustaa Saksi

S

Léa Saluzzi Nathalie Saluzzi Jean Sampaio Fabio Joachim Santos Sapin Brut Satchino Claude Sauber Charlotte Sauer Joachim Sauter Valérie Sayrignac Gilles Scaccia Patrick Schaefer Lynn Schammel Jennifer Schaub Julie Schaus Sandra Scheffen Sandrine Scheller Murielle Scherre (La fille d’O) Scheufelen Sebastian Schichel Jean Schiltz Pe’l Schlechter Andreas Schmid Ralf Schmid Richard Schmid Marthy Schmit Martine Schmit Toni Schmit Serge Schmitgen Claude Schmitz Martin Schmitz Mira Schmitz Carole Schneider Christian Schneider Daniel Schneider Etienne Schneider Gina Schöler Caro Scholl Felix Schons Lea Schroeder Oswald Schroeder Paul Schroeder Stilbé Schroeder Guy Schuler Jean-Paul Schuler Paul Schumacher Yannick Schumacker Pierre Schumann Paul Schwebach Anne Schweitzer Isabelle Schweitzer Tammy Schweitzer Marie Schwoerer Debby Scorcelletti Marc Scozzai Sécurité Routière Sensity

Mike Sergonne Inès Sérizier Albert Seyser

Thank you !

solutions with you - nvision.lu

P-Q

Annick Paquay Rafii Parissa Gintare Parulyte Daniel Passau Casals Pau Oriane Pawlisiak Pearls Christian Pearson Harri Peccinotti Gilles Pegel Christophe Peiffer Eric Peiffer Mark Penfold Judith Peters Michel Petit Rotislava Petkova Brigitte Pétré Felix Pfäffli Christophe Pfeiffer Martine Philippi Phoenix Design Sara Pica Christophe Pillet Martine Pinnel Maxime Pintadu Giacomo Piovan Julie Pipeaux Jacques Piroux Mélanie Planchard Krys Pleimelding Pleix Laura Poggi Jeff Poitiers Polaris Lydie Polfer Elvis Pompilio Emmanuel Poncin Eva Pontini Perry Poos Dana Popescu Stéphanie Poras Stephanie Pos Post Luxembourg / Office des Timbres Claude Poull Justin Powell Paul Priestman Laurren Prieur Paulina Pruszko Nicolas Przeor Andrée Pundel Patrice Putz Quattro Creative Afsaneh Angelina Rafii Ralitt Marie-Jo Ramalho Julien Ramos Nadine Rassel Toni Raus Carole Rausch

Cheers!

Congratulations on your 10th Anniversary

T

www.sensity.eu

Stéphane Thomasset Michael Thomson Thonet Katrin Thorhauer Fred Thouillot Laure Thuillier Filippa Tiago Nathan Tiburzio Sascha Timplan Diane Tobes Matthieu Tockert Lisa Toepfer Sissel Tolaas Paulo Tomas Patricia Tompers Rick Tonizzo Nadine Toussaint Philippe Trabut Steve Troes Anne Trossen Niklaus Troxler Tom Turping Andreas Uebele Guy Uhres Unité d’Habitation Jeanine Unsen Romain Urhausen Patricia Urquiola Usina Mathieu Vacher François Valentiny Christine Valenza Lola Valerius Katrijn Van Damme Angela Van der Meulen Kiki Van Eijk Margaretha Van Hoey-Pompe Thierry Van Ingelgom Myriam Van Wouwe Berna Viallon Victors BVBA Silvano Vidale Vidale-Gloesener Lowic Villa

U-V Ville de Luxembourg

Daniel Vinkowski Vinsékriss Julia Vogelweith Margriet Vollenberg Julie Wagener Martine Wagener Danielle Wagner Marc Wagner Christiane Walerich Eleonore Warmont Dunja Weber Frank Weber Laurie Weber Leila Weber Thomas Weckerle

W

Diane Weicherding-Wildschutz Caroline Weinachter Paul Weinandt Apolline Weirich Leslie Weissen Michel Welfringer Jacques Welter Mike Welter Céline Wengler Charel Wennig David Sebastian Wessel Lynn Weydert Mireille Weydert Dany Weyler Wide Anouk Wies Carlo Wies Barbara Wiesen Christian Wilmes Marc Wilmes Paul Wilmes Sara Wilmes Patrick Wilwert Paul Wilwertz Paul Winandy Emilie Winckel Bibi Wintersdorf Patrick Wirtz Sam Wirtz Luna Wirtz-Ortvald Ellen Withersova Anabel Witry Witry & Witry architecture urbanisme Brigitte Wolf Guido Wolff Philippe Worré Isabelle Wurth Cares Xiberta Jean-Baptiste Yves Remy Zamponi Carole Zaremba Heike Zatterstrom Kevin Zeig Gilles Zeimet Paul Zeimet Alexandra Zeller Mike Zenari Ali Zeniti Eric Zeniti Magali Zeniti Georges Zigrand Severine Zimmer Inna Zrajaeva

X-Y-Z

Thank you !

D D

Claude Seywert Min-Hwa Shin Estelle Sidoni Klaus-Peter Siemssen Christiane Sietzen Olga Silva Christian Simon Tom Simon Alex Simonis Maë Sistermann SNCDA Victor Soares Urh Sobocan Social Matter Sonja Stummerer & Martin Hablesreiter Felix Sorger Ulrich Sorger Maria Grazia Spada Annick Spautz Erik Spiekermann Spike Outi Stauffer Stefan Stefanson Fernand Steffen Max Steffen Nico Steinmetz Steinmetz De Meyer Architectes Yara Stephany Yves Stephany Antoine Stepine Danny Stirn Carole Stoltz Laura Straßer Studio Delle Alpi Studio Feixen Studio Polenta Sumo Superette Darya Syrovatska Adeline Tanda Marlene Teibakk Lisi Teisen Nils Teuber Kim The Butcher Schreiner The Impactory Jessica Theis Frédérique Theisen Lynn Theisen Mick Theisen Marjolijn Thiecke Anja Thielen Anouk Thill Claire Thill Dan Thill Marianne Thill Raoul Thill Heng Thillen Netty Thines Jean-Yves Thomas

Cheers!

Congratulations on your 10th Anniversary

T

www.sensity.eu

Stéphane Thomasset Michael Thomson Thonet Katrin Thorhauer Fred Thouillot Laure Thuillier Filippa Tiago Nathan Tiburzio Sascha Timplan Diane Tobes Matthieu Tockert Lisa Toepfer Sissel Tolaas Paulo Tomas Patricia Tompers Rick Tonizzo Nadine Toussaint Philippe Trabut Steve Troes Anne Trossen Niklaus Troxler Tom Turping Andreas Uebele Guy Uhres Unité d’Habitation Jeanine Unsen Romain Urhausen Patricia Urquiola Usina Mathieu Vacher François Valentiny Christine Valenza Lola Valerius Katrijn Van Damme Angela Van der Meulen Kiki Van Eijk Margaretha Van Hoey-Pompe Thierry Van Ingelgom Myriam Van Wouwe Berna Viallon Victors BVBA Silvano Vidale Vidale-Gloesener Lowic Villa

U-V Ville de Luxembourg

Daniel Vinkowski Vinsékriss Julia Vogelweith Margriet Vollenberg Julie Wagener Martine Wagener Danielle Wagner Marc Wagner Christiane Walerich Eleonore Warmont Dunja Weber Frank Weber Laurie Weber Leila Weber Thomas Weckerle

W

Diane Weicherding-Wildschutz Caroline Weinachter Paul Weinandt Apolline Weirich Leslie Weissen Michel Welfringer Jacques Welter Mike Welter Céline Wengler Charel Wennig David Sebastian Wessel Lynn Weydert Mireille Weydert Dany Weyler Wide Anouk Wies Carlo Wies Barbara Wiesen Christian Wilmes Marc Wilmes Paul Wilmes Sara Wilmes Patrick Wilwert Paul Wilwertz Paul Winandy Emilie Winckel Bibi Wintersdorf Patrick Wirtz Sam Wirtz Luna Wirtz-Ortvald Ellen Withersova Anabel Witry Witry & Witry architecture urbanisme Brigitte Wolf Guido Wolff Philippe Worré Isabelle Wurth Cares Xiberta Jean-Baptiste Yves Remy Zamponi Carole Zaremba Heike Zatterstrom Kevin Zeig Gilles Zeimet Paul Zeimet Alexandra Zeller Mike Zenari Ali Zeniti Eric Zeniti Magali Zeniti Georges Zigrand Severine Zimmer Inna Zrajaeva

X-Y-Z

Thank you !

D D

Claude Seywert Min-Hwa Shin Estelle Sidoni Klaus-Peter Siemssen Christiane Sietzen Olga Silva Christian Simon Tom Simon Alex Simonis Maë Sistermann SNCDA Victor Soares Urh Sobocan Social Matter Sonja Stummerer & Martin Hablesreiter Felix Sorger Ulrich Sorger Maria Grazia Spada Annick Spautz Erik Spiekermann Spike Outi Stauffer Stefan Stefanson Fernand Steffen Max Steffen Nico Steinmetz Steinmetz De Meyer Architectes Yara Stephany Yves Stephany Antoine Stepine Danny Stirn Carole Stoltz Laura Straßer Studio Delle Alpi Studio Feixen Studio Polenta Sumo Superette Darya Syrovatska Adeline Tanda Marlene Teibakk Lisi Teisen Nils Teuber Kim The Butcher Schreiner The Impactory Jessica Theis Frédérique Theisen Lynn Theisen Mick Theisen Marjolijn Thiecke Anja Thielen Anouk Thill Claire Thill Dan Thill Marianne Thill Raoul Thill Heng Thillen Netty Thines Jean-Yves Thomas

Portfolio shows Design: LX Portfolio Night at Rotondes, 2017

Portfolio Show La Nuit des Musées, at Casino Luxembourg — Forum d’art contemporain, 2014

Talks The Interface Interface

by Sven Ehmann & Dennis Elbers, at Casino Luxembourg — Forum d’art contemporain, 2015 Simplexity: Start Making Sense

by Sven Ehmann, at CarréRotondes, 2010

S3 Screenings Art & Copy

by Doug Pray

Big Time

by Kaspar Astrup Schröder

Exhibitions

Pop-up Wintergarden at Casino Luxembourg — Forum d’art contemporain, 2016 Milk & Money at Rotondes, 2016 Resolute — Design Changes at Casino Luxembourg — Forum d’art contemporain, 2015 Thonet Essence at Cercle Cité, 2012 Mapping August — Infographythm at CarréRotondes, 2010

S2

Design is One: Lella & Massimo Vignelli

by Kathy Brew & Roberto Guerra Design Disruptors

by InVision Design & Thinking

by Mu-Ming Tsai Helvetica

by Gary Hustwit Linotype: The Film

by Doug Wilson Maker

by Mu-Ming Tsai Objectified

by Gary Hustwit Rams

by Gary Hustwit Sign Painters

by Faythe Levine and Sam Macon The Happy Film

by Stefan Sagmeister Urbanized

by Gary Hustwit

S4 S5 S6 S7 S8 S9 S10

Catalogues

Additional Programme

Insight into Qompendium

by Kimberly Lloyd, at Mudam Café, 2010

S1

Portfolio shows Design: LX Portfolio Night at Rotondes, 2017

Portfolio Show La Nuit des Musées, at Casino Luxembourg — Forum d’art contemporain, 2014

Talks The Interface Interface

by Sven Ehmann & Dennis Elbers, at Casino Luxembourg — Forum d’art contemporain, 2015 Simplexity: Start Making Sense

by Sven Ehmann, at CarréRotondes, 2010

S3 Screenings Art & Copy

by Doug Pray

Big Time

by Kaspar Astrup Schröder

Exhibitions

Pop-up Wintergarden at Casino Luxembourg — Forum d’art contemporain, 2016 Milk & Money at Rotondes, 2016 Resolute — Design Changes at Casino Luxembourg — Forum d’art contemporain, 2015 Thonet Essence at Cercle Cité, 2012 Mapping August — Infographythm at CarréRotondes, 2010

S2

Design is One: Lella & Massimo Vignelli

by Kathy Brew & Roberto Guerra Design Disruptors

by InVision Design & Thinking

by Mu-Ming Tsai Helvetica

by Gary Hustwit Linotype: The Film

by Doug Wilson Maker

by Mu-Ming Tsai Objectified

by Gary Hustwit Rams

by Gary Hustwit Sign Painters

by Faythe Levine and Sam Macon The Happy Film

by Stefan Sagmeister Urbanized

by Gary Hustwit

S4 S5 S6 S7 S8 S9 S10

Catalogues

Additional Programme

Insight into Qompendium

by Kimberly Lloyd, at Mudam Café, 2010

S1

50 Friends

Design Friends

Published by Design Friends

Board History

Editors in Chief Nadine Clemens Mike Koedinger Deputy Editor and Writer Afsaneh Angelina Rafii Proofreader Anabel Witry

Founder and President (2009 - 2013) ● Counsellor (since 2013) Silvano Vidale Founding member ● Vice-president (2009-2012) Arnaud Mouriamé Founding member ● Secretary (2009 - 2012) ● Vice-president (2012 - 2013) ● President (since 2013) Nadine Clemens Founding member ● Treasurer (2009 - 2010) ● Board Member (2010 - 2013) ● Vice-president (since 2013) Mike Koedinger Board Member (2010 - 2012) ● Secretary (since 2012) Anabel Witry Board Member (2010 - 2013) ● Treasurer (since 2013) Guido Kröger Treasurer (2010 - 2013) ● Counsellor (since 2013) Heike Fries Board Member (2010 - 2013) ● Counsellor (2013 - 2014) Stéphanie Rollin Board Member (2010 - 2012) Pit Kuffer Board Member (2010 - 2011) Serge Ecker Counsellor (2013 - 2014) Mik Muhlen Office manager (2016) ● Press officer (since 2016) Charline Guille-Burger

50 Designers, 50 Encounters, 10 Years of Design Friends

Colophon

Produced by Maison Moderne Creative Director Jeremy Leslie Art Director Oriane Pawlisiak Design Eva Pontini Photography Patricia Pitsch Jan Hanrion Head of Production Stéphanie Poras Head of Production Assistant Stéphane Cognioul

Design Friends would like to thank the fifty designers and their staff for the collaboration on this publication, the interviews and the provision of the visuals.

Design Friends would also like to thank Afsaneh Angelina Rafii for her endless effort in collecting the material, as well as the volunteers who organised the conferences: Nadine Clemens, Heike Fries, Mike Koedinger, Guido Kröger, Pit Kuffer, Arnaud Mouriamé, Stéphanie Rollin, Silvano Vidale, Anabel Witry.

Founded in 2009

Design Friends asbl 41, rue Notre-Dame PO Box 345 ISBN 978-2-9199462-7-3 Printed in Europe. © Design Friends asbl, Luxembourg, 2018

L-2013 Luxembourg office@designfriends.lu www.designfriends.lu

50 Friends

Design Friends

Published by Design Friends

Board History

Editors in Chief Nadine Clemens Mike Koedinger Deputy Editor and Writer Afsaneh Angelina Rafii Proofreader Anabel Witry

Founder and President (2009 - 2013) ● Counsellor (since 2013) Silvano Vidale Founding member ● Vice-president (2009-2012) Arnaud Mouriamé Founding member ● Secretary (2009 - 2012) ● Vice-president (2012 - 2013) ● President (since 2013) Nadine Clemens Founding member ● Treasurer (2009 - 2010) ● Board Member (2010 - 2013) ● Vice-president (since 2013) Mike Koedinger Board Member (2010 - 2012) ● Secretary (since 2012) Anabel Witry Board Member (2010 - 2013) ● Treasurer (since 2013) Guido Kröger Treasurer (2010 - 2013) ● Counsellor (since 2013) Heike Fries Board Member (2010 - 2013) ● Counsellor (2013 - 2014) Stéphanie Rollin Board Member (2010 - 2012) Pit Kuffer Board Member (2010 - 2011) Serge Ecker Counsellor (2013 - 2014) Mik Muhlen Office manager (2016) ● Press officer (since 2016) Charline Guille-Burger

50 Designers, 50 Encounters, 10 Years of Design Friends

Colophon

Produced by Maison Moderne Creative Director Jeremy Leslie Art Director Oriane Pawlisiak Design Eva Pontini Photography Patricia Pitsch Jan Hanrion Head of Production Stéphanie Poras Head of Production Assistant Stéphane Cognioul

Design Friends would like to thank the fifty designers and their staff for the collaboration on this publication, the interviews and the provision of the visuals.

Design Friends would also like to thank Afsaneh Angelina Rafii for her endless effort in collecting the material, as well as the volunteers who organised the conferences: Nadine Clemens, Heike Fries, Mike Koedinger, Guido Kröger, Pit Kuffer, Arnaud Mouriamé, Stéphanie Rollin, Silvano Vidale, Anabel Witry.

Founded in 2009

Design Friends asbl 41, rue Notre-Dame PO Box 345 ISBN 978-2-9199462-7-3 Printed in Europe. © Design Friends asbl, Luxembourg, 2018

L-2013 Luxembourg office@designfriends.lu www.designfriends.lu